Frozen (2013 Film)
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Distribution Company Argentina
Presenta CÓMO LO HACE? (I DON´T KNOW HOW SHE DOES IT) Dirigida por Doug McGrath Sarah Jessica Parker Greg Kinnear Pierce Brosnan Olivia Munn Christina Hendricks SINOPSIS BREVE Durante el día, Kate Reddy (Parker) trabaja sin parar en una firma de gestión financiera en Boston. Al caer la noche, vuelve a casa para reencontrarse con su devoto esposo Richard (Kinnear), un arquitecto que acaba de perder su trabajo, y sus dos pequeños hijos. Este precario equilibrio entre trabajo y familia es el mismo que mantiene a diario la mordaz Allison (Christina Hendricks), la mejor amiga y compañera de trabajo de Kate, y el que trata de evitar a toda costa la joven Momo (Olivia Munn), la competente subalterna de Kate con fobia a los niños. Cuando Kate recibe un importante encargo que la obliga a realizar frecuentes viajes a Nueva York, Richard consigue a su vez el trabajo de sus sueños, situación que debilita el delgado hilo que mantiene unido al matrimonio. Para complicar las cosas, el nuevo y encantador colega de Kate, Jack Abelhammer (Pierce Brosnan), resulta ser una inesperada tentación para ella. SINOPSIS Conozcan a Kate Reddy (Sarah Jessica Parker): esposa, madre, mujer profesional y malabarista por excelencia. La vida de Kate no para un segundo pero es bastante genial. Tiene un marido maravilloso, Richard (Greg Kinnear), un arquitecto que ha comenzado recientemente a trabajar independientemente y con quien tiene dos hijos: Emily (Emma Rayne Lyle), de seis años, y Ben (Theodore y Julius Goldberg), que adora por completo a su madre. Tiene también un trabajo que le encanta: es gerente de inversiones en una firma de Nueva York con sede de Boston. -
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.. -
Btb Independent Article
The Independent – Student – News http://www.independent.co.uk/student/news/bournemouth-graduates-celebrating-oscar- glory-for-their-work-on-gravity-9168893.html Bournemouth graduates celebrating Oscar glory for their work on 'Gravity' by JOE NERSSESSIAN on Tuesday 04 March 2014 Graduates from two Bournemouth Universities are celebrating this week after Gravity picked up seven Oscars at Sunday’s ceremony. 50 Animation and Film graduates from Bournemouth University (BU) and Arts University Bournemouth (AUB) worked on the visual effects part of the film for London-based company, Framestore. The work undertaken by the graduates was specifically recognised as the movie claimed a technical award for Visual Effects, and also won a BAFTA in the same category last month. Framestore, whose senior representatives collected the Oscar at the 86th Academy Awards, are world leaders in visual effects and have an outpost on the AUB campus, where some of the work was completed. The outpost is “very important” to students' development, according to the lecturer in animation at BU, Adam Redford, who also spent six months working on the film. “It can be a great opportunity for graduates to get their first job, and first taste of proper industry experience by working there,” Adam told The Bournemouth Rock. ”I felt really proud to have been involved in a film that won so many awards, especially for the visual effects. It’s a good feeling to know that you have had some input, however small, into something that has been received so positively by the visual effects community and the general public,” said Adam. -
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. -
Television Academy Awards
2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth. -
Ritters Franchise Info.Pdf
Welcome Ritter’s Frozen Custard is excited about your interest in our brand and joining the most ex- citing frozen custard and burger concept in the world. This brochure will provide you with information that will encourage you to become a Ritter’s Frozen Custard franchisee. Ritter’s is changing the way America eats frozen custard and burgers by offering ultra-pre- mium products. Ritter’s is a highly desirable and unique concept that is rapidly expanding as consumers seek more desirable food options. For the first time, we have positioned ourselves into the burger segment by offering an ultra-premium burger that appeals to the lunch, dinner and late night crowds. If you are an experienced restaurant operator who is looking for the next big opportunity, we would like the opportunity to share more with you about our fran- chise opportunities. The next step in the process is to complete a confidentialNo Obligation application. You will find the application attached with this brochure & it should only take you 20 to 30 minutes to complete. Thank you for your interest in joining the Ritter’s Frozen Custard franchise team! Sincerely, The Ritter’s Team This brochure does not constitute the offer of a franchise. The offer and sale of a franchise can only be made through the delivery and receipt of a Ritter’s Frozen Custard Franchise Disclosure Document (FDD). There are certain states that require the registration of a FDD before the franchisor can advertise or offer the franchise in that state. Ritter’s Frozen Custard may not be registered in all of the registration states and may not offer franchises to residents of those states or to persons wishing to locate a fran- chise in those states. -
Walt Disney Archives Kicks Off Its 50Th Anniversary with Exhibit at Bowers Museum
WALT DISNEY ARCHIVES KICKS OFF ITS 50TH ANNIVERSARY WITH EXHIBIT AT BOWERS MUSEUM Inside the Walt Disney Archives opens in March and is part of a year-long celebration that includes special events and experiences BURBANK, Calif. (September 9, 2019) – The Walt Disney Archives celebrates its 50th anniversary next year, and to kick off the festivities, the Bowers Museum in Santa Ana, Calif., will host Inside the Walt Disney Archives: 50 Years of Preserving the Magic, offering a rare look at some of the treasures from the Archives. The 10,000-square-foot traveling exhibit opens to the public on March 7, 2020. Guests are invited to step into the Walt Disney Archives as they walk through a dazzling display of more than 400 objects, including original artwork, costumes, and props that tell the story of the Archives, The Walt Disney Company, and Walt Disney himself. Artifacts include never-before-displayed production art from Fantasia, Walt Disney’s office set from Saving Mr. Banks, the original pitch portfolio used to secure investors for Disneyland, maquettes from animated films such as Peter Pan and Frozen, and much more. Gold Members of D23: The Official Disney Fan Club will be invited to enjoy an exclusive look at the exhibit before it opens to the general public during a special preview night where they can chat with Disney archivists while exploring the exhibit, which runs through August 30, 2020, before heading to other locations around the country (to be revealed in 2020). D23 Gold Members will also receive a discount on tickets to the exhibit, as well as a discount on merchandise in the museum store. -
Theaters 3 & 4 the Grand Lodge on Peak 7
The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall -
Anthropocenema: Cinema in the Age of Mass Extinctions 2016
Repositorium für die Medienwissenschaft Selmin Kara Anthropocenema: Cinema in the Age of Mass Extinctions 2016 https://doi.org/10.25969/mediarep/13476 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Kara, Selmin: Anthropocenema: Cinema in the Age of Mass Extinctions. In: Shane Denson, Julia Leyda (Hg.): Post-Cinema. Theorizing 21st-Century Film. Falmer: REFRAME Books 2016, S. 750– 784. DOI: https://doi.org/10.25969/mediarep/13476. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell - Keine Bearbeitungen 4.0/ Attribution - Non Commercial - No Derivatives 4.0/ License. For Lizenz zur Verfügung gestellt. Nähere Auskünfte zu dieser Lizenz more information see: finden Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0/ https://creativecommons.org/licenses/by-nc-nd/4.0/ 6.2 Anthropocenema: Cinema in the Age of Mass Extinctions BY SELMIN KARA Alfonso Cuarón’s sci-fi thriller Gravity (2013) introduced to the big screen a quintessentially 21st-century villain: space debris. The spectacle of high- velocity 3D detritus raging past terror-struck, puny-looking astronauts stranded in space turned the Earth’s orbit into not only a site of horror but also a wasteland of hyperobjects,[1] with discarded electronics and satellite parts threatening everything that lies in the path of their ballistic whirl (see Figure 1). While the film made no environmental commentary on the long-term effect of space debris on communication systems or the broader ecological problem of long-lasting waste materials, it nevertheless projected a harrowing vision of technological breakdown, which found a thrilling articulation in the projectile aesthetics of stereoscopic cinema. -
From Snow White to Frozen
From Snow White to Frozen An evaluation of popular gender representation indicators applied to Disney’s princess films __________________________________________________ En utvärdering av populära könsrepresentations-indikatorer tillämpade på Disneys prinsessfilmer __________________________________________________ Johan Nyh __________________________________________________ Faculty: The Institution for Geography, Media and Communication __________________________________________________ Subject: Film studies __________________________________________________ Points: 15hp Master thesis __________________________________________________ Supervisor: Patrik Sjöberg __________________________________________________ Examiner: John Sundholm __________________________________________________ Date: June 25th, 2015 __________________________________________________ Serial number: __________________________________________________ Abstract Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. -
Dissecting the Sundance Curse: Exploring Discrepancies Between Film Reviews by Professional and Amateur Critics
Dissecting the Sundance Curse by Lucas Buck — 27 Dissecting the Sundance Curse: Exploring Discrepancies Between Film Reviews by Professional and Amateur Critics Lucas Buck Cinema and Television Arts Elon University Submitted in partial fulfillment of the requirements in an undergraduate senior capstone course in communications Abstract There has been a growing discrepancy between professional-critic film reviews and audience-originating film reviews. In fact, these occurrences have become so routine, industry writers often reference a “Sundance Curse” – when a buzzy festival-circuit film bombs with the general public, commercially or critically. This study examines this inconsistency to determine which aspects of a film tend to draw the most attention from each respective type of critic. A qualitative content analysis of 20 individual reviews was conducted to determine which elements present in a film garnered the most attention from the reviewers, and whether that attention was positive, negative or neutral. This study indicates that audience film reviewers overwhelmingly focused on the “emotional response” gleaned from their movie-going experience above all other aspects of the film, whereas professional critics focused attention to more tangible – above-the-line contributions, such as direction, performances, and writing. I. Introduction As one of the most talked-about films of the 2018 Sundance Film Festival, theA24-released Hereditary became the breakout horror film of the year, opening in nearly 3,000 theaters and raking in $79 million while produced on just a $10 million production budget (Cusumano, 2018). Despite the obvious box office success, Hereditary’s word-of-mouth power seemed to have mostly been driven by glowing critical reviews, rather than by the opinion of audiences who paid to see the film. -
Prohibiting Product Placement and the Use of Characters in Marketing to Children by Professor Angela J. Campbell Georgetown Univ
PROHIBITING PRODUCT PLACEMENT AND THE USE OF CHARACTERS IN MARKETING TO CHILDREN BY PROFESSOR ANGELA J. CAMPBELL1 GEORGETOWN UNIVERSITY LAW CENTER (DRAFT September 7, 2005) 1 Professor Campbell thanks Natalie Smith for her excellent research assistance, Russell Sullivan for pointing out examples of product placements, and David Vladeck, Dale Kunkel, Jennifer Prime, and Marvin Ammori for their helpful suggestions. Introduction..................................................................................................................................... 3 I. Product Placements............................................................................................................. 4 A. The Practice of Product Placement......................................................................... 4 B. The Regulation of Product Placements................................................................. 11 II. Character Marketing......................................................................................................... 16 A. The Practice of Celebrity Spokes-Character Marketing ....................................... 17 B. The Regulation of Spokes-Character Marketing .................................................. 20 1. FCC Regulation of Host-Selling............................................................... 21 2. CARU Guidelines..................................................................................... 22 3. Federal Trade Commission....................................................................... 24