DOCSLIB.ORG

King Kong Free

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
King Kong Free FREE KING KONG PDF Anthony Browne | 96 pages | 03 Nov 2005 | Random House Children's Publishers UK | 9780552553841 | English | London, United Kingdom King Kong () Reviews - Metacritic We use cookies and other tracking technologies to improve your browsing experience on our site, show personalized content and targeted ads, analyze site traffic, and understand where our audiences come from. To learn more or opt-out, King Kong our Cookie Policy. King Kong towers in Kong: Skull Island. The next time we see him, his enormous figure all but blots out the sun. He stands next to mountains, and seems like he might be of the same species. In his prior screen incarnations, Kong has climbed skyscrapers; this Kong actually is one. InKing Kong was the only game in town. Skull Island has attempted to ward off the most common criticism of that film — the characters are boring — in the most Hollywood fashion possible, which is to say it has more people in it than Godzilla does, for more of its King Kong time. But none of them are as interesting as the big ape. Godzilla King Kong, for better or worse, was animated by a strong, central idea. Skull Island has no such core. The movie fitfully competes with the earlier film for sheer beauty, King Kong lacks a clear objective. Here are three things it badly King Kong. Konguntil the two presumably discover King Kong have more in common than they realized and unite to defeat [insert other giant monster here]. See how he might size up with Godzilla. King Kong pick up dry cleaning. This approach makes a certain amount of sense King Kong Godzilla. The big lizard started out as a King Kong for the nuclear devastation of Japan, then slowly but surely evolved into something like a superhero, returning every few years for another movie in which he fought another giant monster. We King Kong them and put them on display. He simply is. Or a guardian to those who treat him with love and care. And that means Kong must die. In every film, he plummets from King Kong great King Kong, bloodied by bullets from aircraft, and he lands with a whump on the New York City pavement. The natural world can never be entirely understood or tamed by human beings, and when we try, we inevitably destroy it. That might be why sequels to King Kong — both the and films received follow-ups — have failed. So he hangs out on the periphery of his own story, perpetually threatening to become a symbol for something, or at least to start having some legitimately exciting fights with King Kong other giant monsters on Skull Island, but he never does. King Kong also has, I should say, some truly terrible creature designs for the Skullcrawlers, its main adversaries, which are vaguely lizard-like. What was wrong with the dinosaurs Kong fought in the original film? Dinosaurs are great! Skull Island is set amid the political turmoil of The Vietnam War has gone south. America is in crisis. Only a giant ape can save it! Like that movie, this one is about a long trip into the jungle to find a legendary figure. Skull Island even goes so far as to shoot and style Samuel L. Jackson plays a very human monster, a man who gradually comes to be obsessed with having his revenge, which makes for a potentially intriguing flip of Apocalypse Now : Instead of having King Kong find a monster in the jungle, what if the monster was in the search party all along? The visuals are stunning at times — Vogt-Roberts certainly knows how to light King Kong scene with flame — but the ideas are barely considered. There are some cool moments here and King Kong. We never King Kong him demonstrate this particular skill set. The supporting players fare slightly better. King Kong and John Goodman are basically playing the same parts they always play — slightly unhinged authority figures, both. And John C. Reilly King Kong off with the movie as a World War II pilot who crashed on Skull Island and knows it better than anyone, even if he seems King Kong be playing a version of Dr. Steve Brulethe lead character of his Adult Swim show. Kong: Skull Island hits theaters nationwide on March 10, Cookie banner We use cookies and other tracking technologies to improve your browsing experience King Kong our site, show personalized content and targeted ads, analyze site traffic, and understand where our audiences King Kong from. By choosing I Acceptyou consent to our use of cookies and other tracking technologies. Reddit Pocket Flipboard Email. U mad, bro? Warner Bros. Mexican Gothic takes full advantage. King Kong required. By signing up, you agree to our Privacy Notice and European users agree to the data transfer policy. For more newsletters, check out our newsletters page. The Latest. Young people have a stake in our future. Let them vote. By Kelsey Piper. Pope Francis endorses same-sex civil unions for the first time ever By Anna North. By German Lopez. Share this story Twitter Facebook. King Kong ( film) - Wikipedia King Kong is a epic monster adventure film co-written, produced, and directed by Peter Jackson. A second remake of the film of the same titlethe film stars Naomi WattsJack BlackAdrien Brodyand, through motion captureAndy Serkis as the title character. Set init follows the King Kong of an ambitious filmmaker who coerces his cast and hired ship crew to travel to the mysterious Skull Island. There, they encounter prehistoric creatures living on the island as well as a legendary giant gorilla known as Kong, whom they capture and take to King Kong York City. The film garnered positive reviews from critics and appeared on King Kong top ten lists for It was praised for its special effects, performances, sense of spectacle and comparison to the original, while some criticised its 3-hour run time. A tie-in King Kong game was released alongside the film, which also became a commercial success. Ann learns her favorite playwright, Jack Driscollis the screenwriter. In truth, Carl intends to sail to and film the mysterious Skull Island. Captain Englehorn has second thoughts about the voyage, prompted by his crew's speculation of trouble ahead. On the voyage, Ann and Jack fall in love. The Venture receives a radio message informing Englehorn there is a warrant for Carl's arrest due to his defiance of the studio's orders to cease production. The message instructs Englehorn to divert to Rangoonbut the ship becomes lost in fog and runs aground on Skull Island. Carl and his crew explore the island and are attacked by natives who kill two members of the crew. Englehorn intervenes and rescues the film crew, but as they make efforts to leave the waters, a native sneaks onto the ship and kidnaps Ann. The natives offer Ann as a sacrifice to Kong, a foot-tall 7. Jack notices Ann's disappearance, and the crew returns to the island, but King Kong too late King Kong Kong flees with Ann into the jungle. Carl manages to catch a glimpse of Kong and becomes determined to capture him on film. King Kong initially terrified of her captor, Ann wins Kong over with her juggling King Kong dancing skills and King Kong to grasp Kong's intelligence and capacity for emotion. Englehorn organises a rescue party, led by his first mate Hayes and Jack, and accompanied by the King Kong crew. The party is caught in the middle of a pack of Utahraptor -like King Kong saevidicus and the herd of Brontosaurus they are hunting, with several killed in the resulting stampede. After this, Baxter leaves the group to return to the ship. King Kong remaining members of the party continue through the jungle when Kong attacks, making them fall into a ravine resulting in Hayes' death and Carl losing his camera. Kong returns to Ann and saves her from three dinosaurs, before taking her to his lair in the mountains. The remaining rescue party are attacked by giant insects in the ravine and rescued by Baxter and Englehorn. As Jack continues searching for Ann, Carl decides to capture Kong. Jack goes to Kong's lair, inadvertently waking him and provoking a swarm of large bat-like creatures. As Kong fights them off, Ann and Jack escape. King Kong arrive at the wall with Kong pursuing them, and Ann becomes distraught by what Carl plans to do. Kong bursts through the gate to get Ann back, killing several sailors but is subdued when Carl knocks him out King Kong chloroform. Ann is played by an anonymous chorus girl, as she refused to King Kong part in the performance. Agitated by the flashing of the cameras, Kong breaks free from his chains and wrecks the theater. He chases Jack out into the King Kong streets and searches for Ann. Kong knocks Jack unconscious, then encounters Ann King Kong, who is able to calm him. Kong and Ann share a moment on a frozen pond in Central Park until the U. Army attacks. Kong is mortally wounded by King Kong planes' gunfire and falls from the building. As Jack takes an elevator to the top of the building and reunites with Ann, civilians, policemen, and soldiers gather around Kong's corpse in the street. One bystander comments that the airplanes got him. Carl makes his way through the crowd, takes one last look at Kong and says, "It wasn't the airplanes. King Kong was Beauty killed the Beast. In addition, director Jackson appears with makeup artist Rick Baker as the pilot and gunner on the airplane that kills the title character, his children appear as New York children, The Lord of the Rings co-producer Rick Porras appears as a gunner in an airplane, and Bob Burns and his wife appear as New York bystanders.
Load more

Recommended publications
  • Toho Co., Ltd. Agenda
    License Sales Sheet October 2018 TOHO CO., LTD. AGENDA 1. About GODZILLA 2. Key Factors 3. Plan & Schedule 4. Merchandising Portfolio Appendix: TOHO at Glance 1. About GODZILLA About GODZILLA | What is GODZILLA? “Godzilla” began as a Jurassic creature evolving from sea reptile to terrestrial beast, awakened by mankind’s thermonuclear tests in the inaugural film. Over time, the franchise itself has evolved, as Godzilla and other creatures appearing in Godzilla films have become a metaphor for social commentary in the real world. The characters are no longer mere entertainment icons but embody emotions and social problems of the times. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 4 About GODZILLA | Filmography Reigning the Kaiju realm for over half a century and prevailing strong --- With its inception in 1954, the GODZILLA movie franchise has brought more than 30 live-action feature films to the world and continues to inspire filmmakers and creators alike. Ishiro Honda’s “GODZILLA”81954), a classic monster movie that is widely regarded as a masterpiece in film, launched a character franchise that expanded over 50 years with 29 titles in total. Warner Bros. and Legendary in 2014 had reintroduced the GODZILLA character to global audience. It contributed to add millennials to GODZILLA fan base as well as regained attention from generations who were familiar with original series. In 2017, the character has made a transition into new media- animated feature. TOHO is producing an animated trilogy to be streamed in over 190 countries on NETFLIX. 2018 © TOHO CO., LTD. All rights reserved/ Confidential & Proprietary 5 Our 360° Business Film Store TV VR/AR Cable Promotion Bluray G DVD Product Exhibition Publishing Event Music 2018 © TOHO CO., LTD.
    [Show full text]
  • ABSTRACT Title of Dissertation: ROYAL SUBJECTS
    ABSTRACT Title of dissertation: ROYAL SUBJECTS, IMPERIAL CITIZENS: THE MAKING OF BRITISH IMPERIAL CULTURE, 1860- 1901 Charles Vincent Reed, Doctor of Philosophy, 2010 Dissertation directed by: Professor Richard Price Department of History ABSTRACT: The dissertation explores the development of global identities in the nineteenth-century British Empire through one particular device of colonial rule – the royal tour. Colonial officials and administrators sought to encourage loyalty and obedience on part of Queen Victoria’s subjects around the world through imperial spectacle and personal interaction with the queen’s children and grandchildren. The royal tour, I argue, created cultural spaces that both settlers of European descent and colonial people of color used to claim the rights and responsibilities of imperial citizenship. The dissertation, then, examines how the royal tours were imagined and used by different historical actors in Britain, southern Africa, New Zealand, and South Asia. My work builds on a growing historical literature about “imperial networks” and the cultures of empire. In particular, it aims to understand the British world as a complex field of cultural encounters, exchanges, and borrowings rather than a collection of unitary paths between Great Britain and its colonies. ROYAL SUBJECTS, IMPERIAL CITIZENS: THE MAKING OF BRITISH IMPERIAL CULTURE, 1860-1901 by Charles Vincent Reed Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2010 Advisory Committee: Professor Richard Price, Chair Professor Paul Landau Professor Dane Kennedy Professor Julie Greene Professor Ralph Bauer © Copyright by Charles Vincent Reed 2010 DEDICATION To Jude ii ACKNOWLEGEMENTS Writing a dissertation is both a profoundly collective project and an intensely individual one.
    [Show full text]
  • Christopher Tuplin, the Great King, His God(S) and Intimations of Divinity
    The Ancient History Bulletin VOLUME THIRTY-ONE: 2017 NUMBERS 3-4 Edited by: Timothy Howe òEdward Anson ò Michael Fronda David Hollander òJoseph Roisman ò John Vanderspoel Pat Wheatley ò Sabine Müller òAlex McAuley Catalina Balmacedaò Charlotte Dunn ISSN 0835-3638 ANCIENT HISTORY BULLETIN Volume 31 (2017) Numbers 3-4 Edited by: Edward Anson, Catalina Balmaceda, Michael Fronda, David Hollander, Alex McAuley, Sabine Müller, Joseph Roisman, John Vanderspoel, Pat Wheatley Senior Editor: Timothy Howe Assistant Editor: Charlotte Dunn Editorial correspondents Elizabeth Baynham, Hugh Bowden, Franca Landucci Gattinoni, Alexander Meeus, Kurt Raaflaub, P.J. Rhodes, Robert Rollinger, Victor Alonso Troncoso Contents of volume thirty-one Numbers 3-4 70 Timothy Doran, Nabis of Sparta: Heir to Agis IV and Kleomenes III? 92 Christopher Tuplin, The Great King, his god(s) and intimations of divinity. The Achaemenid hinterland of ruler cult? 112 Michael Kleu, Philip V, the Selci-Hoard and the supposed building of a Macedonian fleet in Lissus 120 Denver Graninger, Late Argeads in Thrace: Religious Perspectives NOTES TO CONTRIBUTORS AND SUBSCRIBERS The Ancient History Bulletin was founded in 1987 by Waldemar Heckel, Brian Lavelle, and John Vanderspoel. The board of editorial correspondents consists of Elizabeth Baynham (University of Newcastle), Hugh Bowden (Kings College, London), Franca Landucci Gattinoni (Università Cattolica, Milan), Alexander Meeus (University of Leuven), Kurt Raaflaub (Brown University), P.J. Rhodes (Durham University), Robert Rollinger (Universität Innsbruck), Victor Alonso Troncoso (Universidade da Coruña) AHB is currently edited by: Timothy Howe (Senior Editor: [email protected]), Edward Anson, Catalina Balmaceda, Michael Fronda, David Hollander, Alex McAuley, Sabine Müller, Joseph Roisman, John Vanderspoel and Pat Wheatley.
    [Show full text]
  • From Hussein to Abdullah: Jordan in Transition
    THE WASHINGTON INSTITUTE POLICY FOCUS FROM HUSSEIN TO ABDULLAH: JORDAN IN TRANSITION ROBERT SATLOFF RESEARCH MEMORANDUM Number Thirty-Eight April 1999 Cover and title page illustrations from the windows of the al-Hakim Bi-Amrillah Mosque, 990-1013 All rights reserved. Printed in the United States of America. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the publisher. © 1999 by The Washington Institute for Near East Policy Published in 1999 in the United States of America by the Washington Institute for Near East Policy, 1828 L Street NW, Suite 1050, Washington, DC 20036 Contents Institute Staff Page iv About the Author v Acknowledgments vi Executive Summary vii From Hussein to Abdullah: Jordan in Transition 1 Appendix I: Correspondence between King Hussein and Prince Hassan 13 Appendix II: Correspondence between King Hussein and Prince Abdullah 19 Appendix III: Correspondence between King Abdullah and Prince Hassan 21 Appendix IV: Correspondence between King Abdullah and Prime Minister Abd al-Rauf al-Rawabdeh 23 Appendix V: Royal Decree Naming Hamzah Crown Prince 29 Appendix VI: Letter from King Abdullah to Queen Rania 30 THE WASHINGTON INSTITUTE for Near East Policy An educational foundation supporting scholarly research and informed debate on U.S. interests in the Near East President Executive Committee Chairman Michael Stein Barbi Weinberg Vice Presidents Charles Adler Robert Goldman Walter P. Stern Secretary/Treasurer Richard S. Abramson Fred Lafer Lawrence Phillips Richard Borow Martin J.
    [Show full text]
  • Exterminating the Brute Sexism and Racism in ›King Kong‹ Stefanie Affeldt
    Exterminating the Brute Sexism and Racism in ›King Kong‹ Stefanie Affeldt Abstract: Since its fi rst screening in 1933, ›King Kong‹ has been interpreted from a multitude of perspectives. Based on the original movie, this analysis is focussed on the superimposition and conjunction of racism and sexism in the narration and integrates its socio-historical contextualization into the investigation. This makes obvious that the fi lm is far from being a ›Beauty and the Beast‹ fairy tale but launches a double attack on emancipation and self-determination. The movie sac- rifi ces a ›new woman‹ to an old stereotype, the simianized exaggeration of a black man. This is a direct answer to the liberation and civil rights movements of the time, and also one which propagates existing counter-strategies as well. By the sexualisation of the plot, it connects the story to the eugenically shaped racial hys- teria and the politics of lynching. By embedding the story in a history of discovery, it also links the narrative to the history of imperialism and colonial oppression. In view of this twofold threat, it suggests a solution that had already found its literary phrasing: ›Exterminate all the brutes‹. Even though not everyone has seen the movie, the story of ›King Kong‹ is familiar to almost everybody: a giant ape takes possession of a white woman, runs amok in New York City, climbs the Empire State Building, and, after being attacked by airplanes, eventually topples to his death.1 Mind you, the plot of the original 1933 picture has more depth to offer.
    [Show full text]
  • Ironic Identities and Earnest Desires: King Kong and the Desire To- Be-Looked-At Damon Young University of Sussex [email protected]
    Conference Proceedings – Thinking Gender – the NEXT Generation UK Postgraduate Conference in Gender Studies 21-22 June 2006, University of Leeds, UK e-paper no. 26 Ironic Identities and Earnest Desires: King Kong and the Desire to- be-looked-at Damon Young University of Sussex [email protected] Abstract: Since the 1970s, feminist film theory has worked with the assumption that women’s objectification in films and images is the very index of their disempowerment. However, in equating ‘to-be-looked-at-ness’ with a loss of subjectivity, could such a formulation be seen to conceal the cultural privilege that inheres precisely in being looked at, and the seductiveness of this position for the subjects of an increasingly visual culture? In the light of recent claims that the work of feminist film criticism has been done – that ‘the battles have been won’ - this paper considers what there might still be left to say about the relationship between looking, being looked at, desire and power in contemporary culture. Who is looked at? Who looks? What does it mean to be invisible in a culture of images? If irony complicates our reading of the politics of representation, does it mask a deadly earnestness in the contemporary aspiration to be seen at any cost? These topics are broached across a comparative reading of King Kong in its original and contemporary incarnations. Keywords: feminist film theory; gaze; narrative cinema; King Kong; to-be-looked-at; Laura Mulvey; visual pleasure; irony; politics of representation; sublime The conference and
    [Show full text]
  • King's Speech
    FOR YOUR CONSIDERATION 2010 BEST ORIGINAL SCREENPLAY David Seidler THE KING'S SPEECH Screenplay by David Seidler See-Saw Films/Bedlam Productions CARD: 1925 King George V reigns over a quarter of the world’s population. He asks his second son, the Duke of York, to give the closing speech at the Empire Exhibition in Wembley, London. INT. BBC BROADCASTING HOUSE, STUDIO - DAY CLOSE ON a BBC microphone of the 1920's, A formidable piece of machinery suspended on springs. A BBC NEWS READER, in a tuxedo with carnation boutonniere, is gargling while a TECHNICIAN holds a porcelain bowl and a towel at the ready. The man in the tuxedo expectorates discreetly into the bowl, wipes his mouth fastidiously, and signals to ANOTHER TECHNICIAN who produces an atomizer. The Reader opens his mouth, squeezes the rubber bulb, and sprays his inner throat. Now, he’s ready. The reader speaks in flawless pear-shaped tones. There’s no higher creature in the vocal world. BBC NEWS READER Good afternoon. This is the BBC National Programme and Empire Services taking you to Wembley Stadium for the Closing Ceremony of the Second and Final Season of the Empire Exhibition. INT. CORRIDOR, WEMBLEY STADIUM - DAY CLOSE ON a man's hand clutching a woman's hand. Woman’s mouth whispers into man's ear. BBC NEWS READER (V.O.) 58 British Colonies and Dominions have taken part, making this the largest Exhibition staged anywhere in the world. Complete with the new stadium, the Exhibition was built in Wembley, Middlesex at a cost of over 12 million pounds.
    [Show full text]
  • Lyrics & Readings ~ Sept. 13, 2020
    CHORUS (2x) LYRICS & READINGS ~ SEPT. 13, 2020 TAG *Tune in to 103.1FM to listen on your radio* Praise forever to the King of kings. KING OF KINGS CORPORATE CONFESSION Words and Music by Brook Ligertwood, Jason Ingram, Scott Ligertwood Heavenly Father, ©2018 Hillsong Music Publishing (admin. by Capitol CMG Publishing). Fellow Ships Music, So Essential Tunes (admin. by Essential Music Publishing LLC).. All rights You are our great King. We confess that we are very weak reserved. Used by permission. CCLI License #67200. and fallible. We are easily distracted, constantly diverted from your ways, and quick to follow our own sinful hearts instead. VERSE 1 Thank you, Lord Jesus, that you did not guard your own In the darkness, we were waiting interests, but chose to leave the comfort and richness of Without hope, without light. heaven for us. Change our selfish hearts, so that following ‘Til from heaven you came running, you is our greatest joy. Amen. There was mercy in your eyes. To fulfill the law and prophets To a virgin came the Word. From a throne of endless glory, CHRIST BE ALL Words and music by Kevin King. To a cradle in the dirt. © 2019 by Kevin King. CHORUS VERSE 1 Praise the Father, praise the Son, Oh, to be empty and lowly, Praise the Spirit, three in one. Meek and unnoticed, and unknown; God of glory, majesty. And to God, a vessel holy, Praise forever to the King of kings. Filled with Christ, and Christ alone. VERSE 2 VERSE 2 To reveal the kingdom coming How great is God! His grandeur endless, And to reconcile the lost, How frail I come before His throne; To redeem the whole creation, I am lost in love relentless, You did not despise the cross.
    [Show full text]
  • KING KONG IS BACK! E D I T E D B Y David Brin with Leah Wilson
    Other Titles in the Smart Pop Series Taking the Red Pill Science, Philosophy and Religion in The Matrix Seven Seasons of Buffy Science Fiction and Fantasy Writers Discuss Their Favorite Television Show Five Seasons of Angel Science Fiction and Fantasy Writers Discuss Their Favorite Vampire What Would Sipowicz Do? Race, Rights and Redemption in NYPD Blue Stepping through the Stargate Science, Archaeology and the Military in Stargate SG-1 The Anthology at the End of the Universe Leading Science Fiction Authors on Douglas Adams’ Hitchhiker’s Guide to the Galaxy Finding Serenity Anti-heroes, Lost Shepherds and Space Hookers in Joss Whedon’s Firefly The War of the Worlds Fresh Perspectives on the H. G. Wells Classic Alias Assumed Sex, Lies and SD-6 Navigating the Golden Compass Religion, Science and Dæmonology in Philip Pullman’s His Dark Materials Farscape Forever! Sex, Drugs and Killer Muppets Flirting with Pride and Prejudice Fresh Perspectives on the Original Chick-Lit Masterpiece Revisiting Narnia Fantasy, Myth and Religion in C. S. Lewis’ Chronicles Totally Charmed Demons, Whitelighters and the Power of Three An Unauthorized Look at One Humongous Ape KING KONG IS BACK! E D I T E D B Y David Brin WITH Leah Wilson BENBELLA BOOKS • Dallas, Texas This publication has not been prepared, approved or licensed by any entity that created or produced the well-known movie King Kong. “Over the River and a World Away” © 2005 “King Kong Behind the Scenes” © 2005 by Nick Mamatas by David Gerrold “The Big Ape on the Small Screen” © 2005 “Of Gorillas and Gods” © 2005 by Paul Levinson by Charlie W.
    [Show full text]
  • King George and the Royal Family
    ICO = 00 100 :LD = 00 CD "CO KING GEORGE AND THE ROYAL FAMILY KING GEORGK V Bust by Alfred Drury, K.A. &y permission of the sculptor KING GEORGE j* K AND THE ROYAL FAMILY y ;' ,* % j&i ?**? BY EDWARD LEGGE AUTHOR OF 'KING EDWARD IN HIS TRUE COLOURS' VOLUME I LONDON GRANT RICHARDS LTD. ST. MARTIN'S STREET MCMXVIII " . tjg. _^j_ $r .ffft* - i ' JO^ > ' < DA V.I PRINTED IN OBEAT BRITAIN AT THE COMPLETE PRESS WEST NORWOOD LONDON CONTENTS CHAP. PAQB I. THE KING'S CHARACTER AND ATTRIBUTES : HIS ACCESSION AND " DECLARATION " 9 II. THE QUEEN 55 " III. THE KING BETWEEN THE DEVIL AND THE DEEP SEA" 77 IV. THE INTENDED COERCION OF ULSTER 99 V. THE KING FALSELY ACCUSED OF " INTER- VENTION " 118 VI. THE MANTLE OF EDWARD VII INHERITED BY GEORGE V 122 VII. KING GEORGE AND QUEEN MARY IN PARIS (1914) 138 VIII. THE KING'S GREAT ADVENTURE (1914) 172 IX. THE MISHAP TO THE KING IN FRANCE, 1915 180 X. THE KING'S OWN WORDS 192 XI. WHY THE SOVEREIGNS ARE POPULAR 254 XII. THE KING ABOLISHES GERMAN TITLES, AND FOUNDS THE ROYAL HOUSE AND FAMILY OF WINDSOR 286 " XIII. " LE ROY LE VEULT 816 XIV. KING GEORGE, THE KAISER, HENRY THE SPY, AND MR. GERARD : THE KING'S TELE- GRAMS, AND OTHERS 827 f 6 CONTENTS CHAP. PAGE XV. KING GEORGE'S PARENTS IN PARIS 841 XVI. THE GREATEST OF THE GREAT GARDEN PARTIES 347 XVII. THE KING'S ACTIVITIES OUTLINED : 1910-1917 356 XVIII. THE CORONATION 372 ILLUSTRATIONS To face page KING GEORGE V Frontispiece His LATE MAJESTY KING EDWARD VII 40 PORTRAIT OF THE LATE PRINCESS MARY OF CAMBRIDGE 56 THE CHILDREN OF THE ROYAL FAMILY 74 THE KING AND QUEEN AT THE AMERICAN OFFICERS' CLUB, MAYFAIR 122 THE KING AND PRESIDENT POINCARE 138 THE QUEEN AND MADAME POINCARE 158 " HAPPY," THE KING'S DOG 176 A LUNCHEON PARTY AT SANDRINGHAM 190 His MAJESTY KING GEORGE V IN BRITISH FIELD-MARSHAL'S UNIFORM 226 FACSIMILES OF CHRISTMAS CARDS 268 H.R.H.
    [Show full text]
  • The Moving Picture Ship
    THE MOVING PICTURE SHIP By PAUL ANTHONY JOHNSON A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2005 TABLE OF CONTENTS page LIST OF FIGURES ........................................................................................................... iii ABSTRACT....................................................................................................................... iv CHAPTER 1 INTRODUCTION ........................................................................................................1 2 KONG ON TOP OF THE WORLD.............................................................................4 3 KONG THE MIRAGE .................................................................................................7 4 KONG HOLDS ANN.................................................................................................14 5 KONG LOOKS IN .....................................................................................................17 6 KONG ON DISPLAY ................................................................................................21 7 ANN EXPOSED.........................................................................................................25 8 KONG VERSUS THE DINOSAUR..........................................................................28 9 SKULL ISLAND........................................................................................................31 10 ANN’S
    [Show full text]
  • King Kong (1933) -- Study Guide _____/30 Pts
    Name: ____________________________________ Date: ________________ Period: _______ Film Study 1 – Ms. Jones King Kong (1933) -- Study Guide _____/30 pts. Answer the following questions as you watch the film and after viewing the film. 1. How tall was the Kong model used in the making of the movie? 2. Where is Carl Denham planning on filming his new movie? 3. What is the name of the ship he hires? 4. What is Ann Darrow doing when Carl first meets her? 5. How many village girls does the chief say he will give Carl for Ann? 6. How tall was Kong? 7. What other dangerous creatures lived on the island besides Kong? 8. When Carl Denham exhibits Kong, how is Kong billed? 9. Which building does King Kong scale holding Ann? 10. What are we told that killed the 'Beast' at the end? Name: ____________________________________ Date: ________________ Period: _______ Film Study 1 – Ms. Jones After Viewing 11. Ann is a rather flat and one‐dimensional character. Does her character fulfill the audience’s (and your) expectations for a female lead in a horror film? Explain. 12. Discuss how the men treated the only woman on the ship. What was your opinion of that treatment? What might it say about the role of men and women in society in 1933? 13. This film could be viewed as a beauty and the beast fairytale. Why and how did beauty kill the beast in the movie? What do the two archetypes of beauty and the beast (an archetype is a type of character with traits that survive over time) tell you about the power and role of the masculine and feminine in society? Is there a beast in all of us? Did the beast need to die? Why or why not? 14.
    [Show full text]