Disney Trivia Questions & Answers
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Ashley Agrusa
Ashley Agrusa (248)-930-8350 [email protected] Height: 5’7’’ Vocal range: Soprano with a strong belt Theatre *premiere **dance captain Regional: Saturday Night Fever Female Latin Dancer/ Ensemble Surflight Theatre (Karen Babcock) The Wedding Singer Ensemble Surflight Theatre (Paula Sloan) Jesus Christ Superstar Ensemble Surflight Theatre (James Bond) Nice Work If You Can Get It! Ensemble Surflight Theatre (Paula Sloan) Educational: Insta-Worthy!: A New Musical Featured Singer/Dancer*** Cap 21 (Eric Price/Will Reynolds) On The Town Ensemble** Cap 21 (Andrew W. Woodward) Some Nights Featured Dancer/Singer Cap 21 (Randy Redd) Song and Dance Project Featured Singer/Dancer Cap 21 (Tera Lee Pollin) A Night with Harold Arlen Featured Singer/Dancer Cap 21 (David Hibbard) Music Man Marian Summer Theatre Conservatory Grease Marty** Summer Theatre Conservatory Peter Pan Peter Pan Summer Theatre Conservatory Legally Blonde Vivianne** Summer Theatre Conservatory Television/Film The Wannabes Featured Dancer Syndicated America’s Thanksgiving Parade Featured Dancer CBS Showstoppers’ National Dance Championship Soloist/Featured Dancer CBS Dance Concerts Detroit Tigers’ Baseball Game Featured Dancer Comerica Park Detroit Symphony Orchestra Featured Dancer Orchestra Hall Jonas Brothers Concert Featured Dancer Disney Cheetah Girls Concert Featured Dancer Disney Corbin Bleu Concert Featured Dancer Disney Bernadette Peters Featured Dancer Variety Education/Training Cap21/Molloy College BFA Musical Theatre: Acting Larry Arancio, David -
The Indigenous Body As Animated Palimpsest Michelle Johnson Phd Candidate, Dance Studies | York University, Toronto, Canada
CONTINGENT HORIZONS The York University Student Journal of Anthropology VOLUME 5, NUMBER 1 (2019) OBJECTS “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest Michelle Johnson PhD candidate, Dance Studies | York University, Toronto, Canada Contingent Horizons: The York University Student Journal of Anthropology. 2019. 5(1):45–62. First published online July 12, 2019. Contingent Horizons is available online at ch.journals.yorku.ca. Contingent Horizons is an annual open-access, peer-reviewed student journal published by the department of anthropology at York University, Toronto, Canada. The journal provides a platform for graduate and undergraduate students of anthropology to publish their outstanding scholarly work in a peer-reviewed academic forum. Contingent Horizons is run by a student editorial collective and is guided by an ethos of social justice, which informs its functioning, structure, and policies. Contingent Horizons’ website provides open-access to the journal’s published articles. ISSN 2292-7514 (Print) ISSN 2292-6739 (Online) editorial collective Meredith Evans, Nadine Ryan, Isabella Chawrun, Divy Puvimanasinghe, and Katie Squires cover photo Jordan Hodgins “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest MICHELLE JOHNSON PHD CANDIDATE, DANCE STUDIES YORK UNIVERSITY, TORONTO, CANADA In 1995, Disney Studios released Pocahontas, its first animated feature based on a historical figure and featuring Indigenous characters. Amongst mixed reviews, the film provoked criti- cism regarding historical inaccuracy, cultural disrespect, and the sexualization of the titular Pocahontas as a Native American woman. Over the following years the studio has released a handful of films centered around Indigenous cultures, rooted in varying degrees of reality and fantasy. -
Artistmax 2015 Mentors*
ArtistMax 2015 Mentors* COLBIE CAILLAT GRAMMY® Award-winning, multiplatinum songstress. Has sold over 6 million albums worldwide and over 10 million singles to date. She has also written songs with Jason Mraz, OneRepublic’s Ryan Tedder, as well as written songs on Taylor Swift’s album “Fearless." KEN CAILLAT GRAMMY® Award Winning Producer. Ken is best known for engineering the Fleetwood Mac albums Rumours, Tusk, Mirage, Live, and The Chain Box Set, as well as working with artists such as Colbie Caillat, Michael Jackson, and Paul McCartney. ANTHONY FRANCO Anthony Franco is a self-taught designer whose professional experience ranges from commercials, music videos, live stage shows, personal styling, movie design, and also showing collections of his own. In 2007 he earned the Mercedes-Benz presents Designer of the Year award, for his Fall 2007 collection. AISHA FRANCIS Aisha Francis toured the world as Beyonce’s right hand dancer and dance captain, formerly serving as assistant choreographer and co-creator of the “Crazy in Love” Booty Dance. Other movement clients include Christina Aguilera, Rita Ora, Nelly Furtado, EnVogue, Rihanna, and Kelly Rowland, just to name a few. More recently, Aisha has been featured on such prominent television shows as American Idol, Dancing With the Stars, The Oprah Winfrey Show, The View, Good Morning America, Ellen, The Tonight Show with Jay Leno, The Late Show with David Letterman, This past season of So You Think You Can Dance? JODI VANESSA WATLEY American singer, songwriter and record producer, whose music crosses genres including pop, R&B, jazz, dance and electronic soul.[ In 1987, she won the GRAMMY® Award for "Best New Artist."Along with Janet Jackson and Madonna, she ranks as one of MTV Video Music Awards most nominated female artists ever, with six nominations for her ‘Real Love’ video. -
Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
Disney Magic Becomes a Little Less Magical and a Little More
University of Hawai‘i at Hilo HOHONU 2019 Vol. 17 majority of Disney films often bequeath the antagonist of Disney Magic Becomes a Little the storyline with a non-American accent, exemplified Less Magical and a Little More by Shere Khan’s British accent in The Jungle Book. The protagonists of the films, like Mowgli in The Jungle Book, Discriminatory are almost always portrayed with the Standard American Kaleigh Anderson accent. It has been a common pattern within Disney’s animated features that characters who speak with non- Storytelling is a crucial part for humankind as well Standard American accents are portrayed as outsiders, as in oral history. Movie adaptations have also become and are selfish and corrupt with the desire to seek or a key ingredient in relaying certain messages to people obtain power. This analysis is clearly displayed in one of of all ages. However, children watching movies and Disney’s most popular animated feature films, The Lion absorbing stories are susceptible and systematically King. In this Hamlet-inspired tale, the main characters’ exposed to a standard (or specific) language ideology accents bring attention to which characters fall into by means of linguistic stereotypes in films and television the “good guy” versus “bad guy” stereotype. Simba, shows. These types of media specifically, provide a the prized protagonist in the film, and Nala, his love wider view on people of different races or nationalities interest, both speak Standard American dialects. Through to children (Green, 1997). Disney films, for instance, linguistic production, Simba’s portrayal as the Lion King are superficially cute, innocent and lighthearted, but translates an underlying message to children viewers through a deeper analysis , the details of Disney movies that characters who are portrayed as heroes or heroines provide, a severe, and discriminating image. -
6 Other CFP 1/16/09.Indd
SATURDAY JANUARY 17 6 PM 6:30 7 PM 7:30 8 PM 8:30 9 PM 9:30 10 PM 10:30 11 PM 11:30 KLBY/ABC News (N) Kake Movie: The Pacifier (2005) A Navy SEAL Desperate News Desperate Ent. H h (CC) News becomes the guardian of five siblings. Housewives (CC) (CC) Housewives (CC) Tonight KSNK/NBC News (N) Wheel of Crusoe Hour 11 - Law & Order (CC) Law & Order: SVU News (N) Saturday Night Live (N) (CC) L j Fortune The Hunting Party KBSL/CBSSATURDAYNews Paid Game Game Without a Trace 48 Hours Mystery News (N)JANUARYM*A*S*H Boston Legal17 Death 1< NX (CC) Program Show Show (CC) (CC) (CC) (CC) Be Not Proud (CC) K15CG Sun- Perfect Keeping As Time The Lawrence Welk Ro- New Red Austin City Limits Soundstage (CC) d flower6 PM Day6:30 (CC) Up7 PM Goes7:30 By Show8 P MFrench8:30 Show mance9 PM Green9:30 Foo10 FightersPM 10:30(CC) 11 PM 11:30 KLBY/ABCESPN NewsCollege (N) BasketballKake Movie:College The GameDay Pacifier (2005)College A Navy Basketball SEAL : MiamiDesperate at North SportsCenterNews Desperate (Live) Midnight Fast-Ent. HO_h (CC) News becomes(Live) (CC) the guardian Carolina.of five siblings. (Live) (CC) Housewives (CC) (CC)(CC) HousewivesMadness (CC) breakTonight KSNK/NBCUSA NewsNCIS Mind(N) WheelGames of CrusoeNCIS Silver Hour War 11 - NCISLaw & Switch Order (CC) (CC) NCISLaw & The Order: Voyeur’s SVU LawNews & (N)Order:Saturday NightLaw & Live Order: (N) (CC)SVU LP^j (CC) Fortune The(CC) Hunting Party Web (CC) Criminal Intent KBSL/CBSTBS NewsMovie: You,Paid Me and DupreeGame TTZGame (2006, Movie:Without You, a Trace Me and Dupree48 Hours TTZ Mystery (2006, Movie:News (N) SaharaM*A*S*H TTZ (2005)Boston Adventurers Legal Death 1<P_NX (CC)Comedy) OwenProgram Wilson,Show Kate Hudson.Show (CC) Comedy)(CC) Owen Wilson,(CC) Kate Hudson. -
Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis
arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”. -
Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland the Little Merm
FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! Activity 1: • Disney Pictionary: o Put Disney movies and character names onto little pieces of paper and fold them in half o Put all of the pieces of paper into a bowl o Then draw it for their team to guess Can add a charade element to it rather than drawing if that is preferred o If there are enough people playing, you can make teams • Here are some ideas, you can print these off and cut them out or create your own list! Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland The Little Mermaid Up Brave Robin Hood Aladdin Cinderella Sleeping Beauty The Emperor’s New Groove The Jungle Book The Lion King Beauty and the Beast The Princess and the Frog 101 Dalmatians Lady and the Tramp A Bug’s Life The Fox and the Hound Mulan Tarzan The Sword and the Stone The Incredibles The Rescuers Bambi Fantasia Dumbo Pinocchio Lilo and Stitch Chicken Little Bolt Pocahontas The Hunchback of Notre Wall-E Hercules Dame Mickey Mouse Minnie Mouse Goofy Donald Duck Sully Captain Hook Ariel Ursula Maleficent FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! The Genie Simba Belle Buzz Lightyear Woody Mike Wasowski Cruella De Ville Olaf Anna Princess Jasmine Lightning McQueen Elsa Activity 2: • Disney Who Am I: o Have each family member write the name of a Disney character on a sticky note. Don’t let others see what you have written down. o Take your sticky note and put it on another family members back. -
The Illusion of Life: Disney Animation Interactive Edition
The Illusion of Life: Disney Animation Interactive Edition By Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology University of Cincinnati College of Applied Science June 2006 The Illusion of Life: Disney Animation Interactive Edition by Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology © Copyright 2006 Michelle Walsh The author grants to the Information Technology Program permission to reproduce and distribute copies of this document in whole or in part. ___________________________________________________ __________________ Michelle L. Walsh Date ___________________________________________________ __________________ Sam Geonetta, Faculty Advisor Date ___________________________________________________ __________________ Patrick C. Kumpf, Ed.D. Interim Department Head Date Acknowledgements A great many people helped me with support and guidance over the course of this project. I would like to give special thanks to Sam Geonetta and Russ McMahon for working with me to complete this project via distance learning due to an unexpected job transfer at the beginning of my final year before completing my Bachelor’s degree. Additionally, the encouragement of my family, friends and coworkers was instrumental in keeping my motivation levels high. Specific thanks to my uncle, Keith -
Social Sciences $€ £ ¥
social sciences $€ £ ¥ Article The Portrayal of Families across Generations in Disney Animated Films Jessica D. Zurcher *, Sarah M. Webb ID and Tom Robinson School of Communications, Brigham Young University, Brimhall Building, #360, Provo, UT 84604, USA; [email protected] (S.M.W.); [email protected] (T.R.) * Correspondence: [email protected] Received: 5 February 2018; Accepted: 14 March 2018; Published: 18 March 2018 Abstract: Disney animated films continue to serve as an influential form of media that shapes children’s development of beliefs about the world surrounding them, including the construct of the family. However, a census analysis as to how Disney animated films represent depictions of families has yet to be conducted. To fill this gap, we assessed the qualities of family demographics, structure, and function in a census analysis of 85 Disney animated films from the years 1937–2018. Results indicated that single parent families (41.3%) was the most predominantly represented family structure, followed by nuclear (25%) and guardian (19.2%). We also observed that the first depiction of a non-Caucasian family was presented in the 1990s, with a growing number of ethnically diverse families since that time. However, minimal interactions between families of differing ethnicities are noted. Overall, over 75% of all Disney animated films depicted warm and supportive familial interactions, with 78.8% of the films illustrating a positive relationship between the protagonist and his/her family. Analysis and implications are offered for parents and educators who wish to further understand the content Disney animated films offer in depicting families. Keywords: content analysis; cultivation; Disney; family; family structure; family function 1. -
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. -
A Greener Disney Cidalia Pina
Undergraduate Review Volume 9 Article 35 2013 A Greener Disney Cidalia Pina Follow this and additional works at: http://vc.bridgew.edu/undergrad_rev Part of the Environmental Sciences Commons Recommended Citation Pina, Cidalia (2013). A Greener Disney. Undergraduate Review, 9, 177-181. Available at: http://vc.bridgew.edu/undergrad_rev/vol9/iss1/35 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Copyright © 2013 Cidalia Pina A Greener Disney CIDALIA PINA Cidalia Pina is a isney brings nature and environmental issues to the forefront with its Geography major non-confrontational approach to programming meant for children. This opportunity raises awareness and is relevant to growing with a minor in environmental concerns. However this awareness is just a cursory Earth Sciences with Dstart, there is an imbalance in their message and effort with that of their carbon an Environmental footprint. The important eco-messages that Disney presents are buried in fantasy and unrealistic plots. As an entertainment giant with the world held magically concentration. This essay was captive, Disney can do more, both in filmmaking and as a corporation, to facilitate completed as the final paper for Dr. a greener planet. James Bohn’s seminar course: The “Disney is a market driven company whose animated films have dealt with nature Walt Disney Company and Music. in a variety of ways, but often reflect contemporary concerns, representations, and Cidalia learned an invaluable amount shifting consciousness about the environment and nature.” - Wynn Yarbrough, about the writing and research University of the District of Columbia process from Dr.