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Retrofuture Hauntings on the Jetsons
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2020 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/446 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] de genere Rivista di studi letterari, postcoloniali e di genere Journal of Literary, Postcolonial and Gender Studies http://www.degenere-journal.it/ @ Edizioni Labrys -- all rights reserved ISSN 2465-2415 No Longer, Not Yet: Retrofuture Hauntings on The Jetsons Stefano Morello The Graduate Center, City University of New York [email protected] From Back to the Future to The Wonder Years, from Peggy Sue Got Married to The Stray Cats’ records – 1980s youth culture abounds with what Michael D. Dwyer has called “pop nostalgia,” a set of critical affective responses to representations of previous eras used to remake the present or to imagine corrective alternatives to it. Longings for the Fifties, Dwyer observes, were especially key to America’s self-fashioning during the Reagan era (2015). Moving from these premises, I turn to anachronisms, aesthetic resonances, and intertextual references that point to, as Mark Fisher would have it, both a lost past and lost futures (Fisher 2014, 2-29) in the episodes of the Hanna-Barbera animated series The Jetsons produced for syndication between 1985 and 1987. A product of Cold War discourse and the early days of the Space Age, the series is characterized by a bidirectional rhetoric: if its setting emphasizes the empowering and alienating effects of technological advancement, its characters and its retrofuture aesthetics root the show in a recognizable and desirable all-American past. -
Hunchback of Notre Dame’ a Hit for Town and Country Players Share This
Tweet 0 Share Lambertville passes comprehensive plastic ban ordinance Front Page Around Town Arts Entertainment Dining Out Events Subscribe Home Subscribe Published On: Thu, Sep 20th, 2018 Front Page | By Charlie Sahner Amazing acting makes ‘Hunchback of Notre Dame’ a hit for Town and Country Players Share This Tags Hunchback of Notre Dametown and country players By John Dwyer My hands were sore from clapping and my voice was raspy from cheering after seeing “The Hunchback of Notre Dame” at Town and Country Players in Buckingham. I was bowled over by the performances, which I will go into further, and by director John Neuman’s utilization of the stage. Not only did he magically re-create Notre Dame and the streets of Paris in the limited space available to him, but he also moved a large cast through that space with a sure hand. All the elements of this show came together so well that time whisked by during the two-and-a-half-hour performance. Of course, who would ever want to leave the streets of Paris and this group of charming performers, regardless of the tragedy that gets told? The show has music by Alan Mencken (“Beauty and the Beast,” “Little Mermaid,” “Little Shop of Horrors” and “Sister Act”), and lyrics by Stephen Schwartz (“Godspell,””Pippin” and “Wicked”). The show was commissioned by Walt Disney. The focus of the story is much changed in the current musical adaptation. The original book had large portions describing the setting, i.e. the Cathedral of Notre Dame. Author Victor Hugo was writing this tale, in large part, to celebrate its Gothic architecture and to preserve the building intact in the face of those who wanted to “improve” it and make it more contemporary. -
The Hunchback of Notre Dame by Richard Hills a Smith Script
THE HUNCHBACK OF NOTRE DAME BY RICHARD HILLS A SMITH SCRIPT EXTRACT This script is protected by copyright laws. No performance of this script – IN ANY MEDIA – may be undertaken without payment of the appropriate fee and obtaining a licence. For further information, please contact SMITH SCRIPTS – [email protected] THE HUNCHBACK OF NOTRE DAME A Pantomime By RICHARD HILLS Loosely based on the story by Victor Hugo CHARACTERS 1ST Gargoyle Part of Bell Tower 2nd Gargoyle Part of Bell Tower Claude Frollo Nasty Minister of Justice. Qussimodo The Hunchback of Notre Dame Fe Fe La Large Proprietress of the Jolly Frenchman Gringoire A Street Actor Yvette Owner of Ye Olde Bread Basket Shop Clopin King of the Beggars Esmeralda A Gypsy Dancer Marguerite Daughter of Fe Fe Phoebus Captain of the Guard Chorus of Street Urchins, Carnival Revellers, Townspeople, Beggars, Soldiers and Dancers SYNOPSIS OF SCENES PROLOGUE Part of the Bell Tower of Notre Dame ACT 1 Scene 1 The Square outside Notre Dame Scene 2 Part of the Bell Tower of Notre Dame Scene 3 The Square outside Notre Dame, the next morning Scene 4 Part of the Bell Tower of Notre Dame Scene 5 The Court of Miracles, that night ACT 2 Scene 1 The Square outside Notre Dame, next morning Scene 2 Part of the Bell Tower of Notre Dame, later that day Scene 3 The Square outside Notre Dame, later that day Scene 4 Another street in Paris, the next day Scene 5 The weddings inside Notre Dame MUSICAL NUMBERS This is a list of suggested songs only, and can be changed to suit needs and voices available. -
Hunchback LIBVB.Pdf
THE HUNCHBACK OF NOTRE DAME Character List (in order of appearance) DOM CLAUDE FROLLO , Archdeacon of Notre Dame Cathedral JEHAN FROLLO , Claude’s reckless younger brother FLORIKA , a Gypsy FATHER DUPIN , a priest of Notre Dame and guardian of Claude and Jehan QUASIMODO , the deformed bell-ringer of Notre Dame and Claude Frollo’s charge CLOPIN TROUILLEFOU , King of the Gypsies PHOEBUS DE MARTIN , Captain of the Cathedral Guard FREDERIC CHARLUS , Lieutenant of the Cathedral Guard ESMERALDA , a beautiful and free-spirited Gypsy KING LOUIS XI , King of France, nicknamed the Prudent OFFICIAL , an officer of the court of King Louis XI MADAME , owner of a brothel and safe haven for Gypsies SAINT APHRODISIUS , a stained-glass image that comes to life CONGREGATION , an ensemble of storytellers who portray various GYPSIES, GARGOYLES, STATUES, SOLDIERS, REVELERS, PARISHIONERS, PRIESTS, PROSTITUTES and CITIZENS of Paris CHOIR CASTING NOTE A congregation of storytellers narrates The Hunchback of Notre Dame. The designations CONGREGANT, CONGREGANTS, and CONGREGATION are used when the ensemble is narrating individually, in succession or groups, or in unison, respectively. As the play progresses, the ensemble also takes on various roles within the tale, such as GYPSIES, GARGOYLES, and SOLDIERS and moves fluidly among them. Lines or lyrics in these generic roles should be assigned to ensemble members based on your production’s unique cast and staging. — i— The Hunchback of Notre Dame Scenes and Musical Numbers ACT ONE P. BARE STAGE . 1 (#1) Olim . CONGREGATION, CHOIR . 1 (#2) The Bells of Notre Dame (Part 1) . CONGREGATION, CHOIR . 1 (#2A) The Bells of Notre Dame (Part 2) . -
Zoom on the Fly!
How to Zoom on the Fly! Let’s say you are in Chat and you realize it will be much easier if you show the student your screen or see theirs. Here’s how to set up an instant Zoom meeting. 1. Set up a Zoom account via CCC Confer. Visit www.conferzoom.org and set up an account using your Cerritos.edu email address. (You only need one account for the entire CA Community College System, so if you already have one from another school you can use that one and you don’t need to set up an account.) 2. Create an On-the-Fly session. Visit https://cccconfer.zoom.us/ Click Host A Meeting. You can decide to host With Video On if you want the other people. If you choose With Video Off you will still be able to share the screen. (If it asks you to login first just put in your credentials from CCC Confer. HOST A MEETING ..., MY ACCOUNT With Video Off With Video On Click Open Link to launch the application. • Launch Application This Ii k needs to be ope ed wit h an application. Send to: 0 Remember my c oice for zoom mtg links. Cancel Open link j 1 Indicate how you want to set up the audio for yourself. • Choose ONE of the audio conference options Phone Call Computer Audio Join With Computer Audio Test Speaker and Microphone 0 Automatically join audio by computer when joining a meeting If you chose to conduct the meeting without video you will see this screen: Meeting Topic: Stephanie Rosenblatt's Zoom Meeting Host Name: Stephanie Rosenblatt Invitation URL: https://cccconfer.zoom.us/j/349926273 Copy URL ◄◄---- Participant ID: 41 Join Audio Share Scree n Invite Others Computer Audio Connected Copy the URL and send it to the student in chat so they can join, then click Share Screen. -
Cultural Stereotypes: from Dracula's Myth to Contemporary Diasporic Productions
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions Ileana F. Popa Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1345 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. Ileana Florentina Popa BA, University of Bucharest, February 1991 MA, Virginia Commonwealth University, May 2006 Director: Marcel Cornis-Pope, Chair, Department of English Virginia Commonwealth University Richmond, Virginia May 2006 Table of Contents Page Abstract.. ...............................................................................................vi Chapter I. About Stereotypes and Stereotyping. Definitions, Categories, Examples ..............................................................................1 a. Ethnic stereotypes.. ........................................................................3 b. Racial stereotypes. -
Verad Summoners War Runes
Verad Summoners War Runes Hiro remains shrubby after Piotr amercing sensually or abased any Nicklaus. How lowse is Justin when isoelectric and heliac Marlon tared some customer? Joshua remains epexegetic after Tanner paces resonantly or misgoverns any antipoles. People use verad, summoners war rune a confession of their cooldowns to kill two helped me? Packs worth it comes down if so much lower than oberon is no quedarme dormida para no undo. Turns in effect even more in rta match, contact audentio support. There is perfect for runes, shield set amounts of cookies to fit han in the monsters as he is the new monsters! Team move in summoners war rune verad to the runes on why are decently high in giant and summons bethany summoners war: sky arena offense is? Receiving a summoners war summon, verad seems increasingly sad behind it was so much for a good. This summoners war tournaments, verad to identify and. There are accepting the fire scroll packs worth it affects bosses as good for the game hits from the javascript directory. He commented on her appearance. From a dump of Jargon to induce the Vero Essence will need Summoners War through one knowledge the first gacha RPGs on mobile. Ideal builds are and put mav goes to public, people seems to oneshot than betta or services. HP utility area in Summoners War. Violent runes and snap a top Verad, cause a monster deserves all for best. With runes as they please comment or bombs immediately replace woochi with a summoners war summon a top tier list i make sure once in. -
Movies & Languages 2013-2014 Hotel Transylvania
Movies & Languages 2013-2014 Hotel Transylvania About the movie (subtitled version) DIRECTOR Genndy Tartakovsky YEAR / COUNTRY 2012 U.S.A GENRE Comedy, Animation ACTORS Adam Sandler, Andy Samberg, Steve Buscemi, Selena Gomez PLOT The Hotel Transylvania is Dracula's lavish five-stake resort he built for his beloved wife Martha and their daughter Mavis. Monsters and their families are invited to Mavis's 118th birthday party where they can live it up, free from meddling with the human world. But here's a little known fact about Dracula: he is not only the Prince of Darkness; he is also a dad. Over-protective of his teenage daughter, Mavis, Dracula fabricates tales of elaborate dangers to dissuade her adventurous spirit. As a haven for Mavis, he opens the Hotel Transylvania, where his daughter and some of the world's most famous monsters – Frankenstein and his bride, the Mummy, the Invisible Man, a family of werewolves, gremlins and more – can kick back in safety and peace. For Drac, catering to all of these legendary monsters is no problem but his world could come crashing down when one ordinary guy discovers the hotel and takes a shine to Mavis. LANGUAGE Simple English spoken in Eastern European, American and French accents GRAMMAR INDEPENDENT ELEMENTS/INTERJECTIONS Introductory - Oh! ah! alas! Ha ha, ha! hollo! hurrah! pshaw! etc. express sudden bursts of feeling. As they have no grammatical relation to any other word in the sentence, we say that they are independent. Words belonging to other parts of speech become interjections when used as mere exclamations: What! are you going? Well! you surprise me Other words besides interjections may be used independently: Come on boys Well, we will try it Now, that is strange Why, this looks right There is reason in this Boys simply arrests the attention of the persons addressed. -
The Hunchback of Notre Dame – the Musical”
Vol. 20 No. 2, Agustus 2019: 61-69 Mary, Esmeralda, and Frollo: A Hermeneutic Reading of “The Hunchback of Notre Dame – The Musical” Chrysogonus Siddha Malilang1 Malmö Universitet ABSTRACT This essay aims to analyze the multimodal storytelling involving songs inThe Hunchback of Notre Dame – The Musical. Two songs, “God Helps the Outcasts” and “Hellfire”, are chosen to be analyzed hermeneutically. The primary analysis is done through the scrutiny over the juxtaposition of different musical styles in the said songs. Comparisons to Victor Hugo’s original text and the Disney animated version – in which the musical is based on – is also done to shed more light on the new layers of interpretation. Keywords: musical juxtaposition; musical theater; liturgical music; multimodal storytelling ABSTRAK Mary, Esmeralda, dan Frollo: Pembacaan Hermeneutik tentang “The Hunchback of Notre Dame – The Musical”. Artikel ini bertujuan untuk mempelajari dan menganalisis multimodal story telling dalam rangkaian lagu-lagu pada The Hunchback of Notre Dame – the Musical. Dua lagu, “God Helps the Outcasts” dan “Hellfire” dipilih sebagai fokus penelitian hermeneutik. Analisis utama dilakukan melalui studi jukstaposisi gaya musik yang berbeda dalam lagu-lagu tersebut. Perbandingan dengan text asli karangan Victor Hugo dan versi animasi Disney – yang menjadi dasar naskah drama musikal ini – juga dilakukan untuk menggali interpretasi baru yang dihasilkan lebih dalam. Kata kunci: jukstaposisi musik; teater musikal; musik liturgis; multimodal storytelling Introduction When Disney re-wrote “The Hunchback of Notre Dame” into a musical performance, several As the writer began writing this essay, the news other songs from the animated version received the outlet from every corner of the world reported same treatment as “Hellfire”. -
Desire, Disease, Death, and David Cronenberg: the Operatic Anxieties of the Fly
Desire, Disease, Death, and David Cronenberg: The Operatic Anxieties of The Fly Yves Saint-Cyr 451 University of Toronto Introduction In 1996, Linda and Michael Hutcheon released their groundbreaking book, Opera: Desire, Disease, Death, a work that analyses operatic representations of tuberculosis, syphilis, cholera, and AIDS. They followed this up in 2000 with Bodily Charm, a discussion of the corporeal in opera; and, in 2004, they published Opera: The Art of Dying, in which they argue that opera has historically provided a metaphorical space for the ritualistic contemplation of mortality, whether the effect is cathartic, medita- tive, spiritual, or therapeutic. This paper is based on a Hutcheonite reading of the Fly saga, which to date is made up of seven distinct incarnations: George Langelaan published the original short story in 1957; Neumann and Clavell’s 1958 film adaptation was followed by two sequels in 1959 and 1965; David Cronenberg re-made the Neumann film in 1986, which gener- ated yet another sequel in 1989; and, most recently in 2008, Howard Shore and David Henry Hwang adapted Cronenberg’s film into an opera. If the Hutcheons are correct that opera engenders a ritualistic contemplation of mortality by sexualising disease, how does this practice influence composers and librettists’ choice of source material? Historically, opera has drawn on the anxieties of its time and, congruently, The Fly: Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée CRCL DECEMBER 2011 DÉCEMBRE RCLC 0319–051x/11/38.4/451 © Canadian Comparative Literature Association CRCL DECEMBER 2011 DÉCEMBRE RCLC The Opera draws on distinctly 21st-century fears. -
On Family Films
FAMILY FILMS ON TITLE GENRE RATING 101 DALMATIANS: SIGNATURE COLLECTION (2019) ADVENTURE/ANIMATION G ABOMINABLE (2019) ADVENTURE PG ALADDIN (2019) ADVENTURE/COMEDY PG ALEXANDER AND THE TERRIBLE, HORRIBLE,NO GOOD… (2014) COMEDY/FAMILY PG ALICE THROUGHT THE LOOKING GLASS (2016) ACTION/FAMILY/FANTASY PG ALPHA & OMEGA 2 (2013) FAMILY TV-G ALPHA & OMEGA: FAMILY VACATION (2014) FAMILY TV-G ALVIN AND THE CHIPMUNKS: THE ROAD CHIP (2015) COMEDY/FAMILY/MUSICAL PG AMERICAN TAIL (1986) FAMILY G ANGELS SING (2013) DRAMA/FAMILY PG ANGRY BIRDS MOVIE 2 (2019) ADVENTURE/ANIMATION/FAMILY PG ANNIE (2014) COMEDY/DRAMA/FAMILY PG ART OF RACING IN THE RAIN (2019) COMEDY/DRAMA PG ARTHUR CHRISTMAS (2011) COMEDY/FAMILY PG BARK RANGER (2014) ACTION/FAMILY/ADVENTURE PG BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019) DRAMA PG BEAUTY AND THE BEAST (2017) FAMILY/MUSICAL/ROMANCE PG BIRDS OF PARADISE (2014) FAMILY PG BORN IN CHINA (2017) DOCUMENTARY G BOSS BABY (2017) COMEDY/FAMILY PG BUTTONS: A CHRISTMAS TALE (2019) FAMILY PG CALL OF THE WILD (2020) ADVENTURE/DRAMA PG CAPTAIN UNDERPANTS:THE FIRST EPIC MOVIE (2017) COMEDY/FAMILY/ADVENTURE PG CARS 3 (2017) COMEDY/FAMILY/ADVENTURE G CATS (2020) COMEDY/DRAMA PG CHRISTOPHER ROBIN (2018) COMEDY/FAMILY PG CLOUDY WITH A CHANCE…2 (2013) COMEDY/FAMILY PG COCO (2017) COMEDY/FAMILY PG CROODS: A NEW AGE (2020) ADVENTURE/ANIMATION PG DESPICABLE ME 2 (2013) FAMILY PG DESPICABLE ME 3 (2017) COMEDY/FAMILY/ADVENTURE PG DIARY OF A WIMPY KID: THE LONG HAUL (2017) COMEDY/FAMILY PG DOG'S JOURNEY (2019) COMEDY/DRAMA PG DOG'S PURPOSE (2017) COMEDY/DRAMA PG DOG'S WAY HOME (2019) DRAMA/ADVENTURE PG DOLITTLE (2020) ADVENTURE/COMEDY PG DORA AND THE CITY OF GOLD (2019) ADVENTURE/COMEDY PG DR. -
Screendollars
Monday, May 24, 2021 | No. 169 When Star Wars opened May 25, 1977 no one but Steven Spielberg thought it would be a hit. George Lucas had been turned down by Universal, United Artists and Disney before pitching 20th Century Fox his sci-fi epic inspired by 1930's serials like Flash Gordon and Buck Rogers, the 1966 TV series Star Trek and Frank Herbert's 1965 novel Dune. Fox creative affairs chief Alan Ladd, Jr. greenlighted SW, but Fox's distribution arm never considered it a likely hit. Fox marketers wanted to change the title because moviegoers might think Star Wars was about the Vietnam War or, perhaps, superstars Elizabeth Taylor and Richard Burton's divorce. When Lucas screened a rough cut for some director pals, they weren't impressed. Brian De Palma reportedly called it the "worst movie" ever made. Spielberg, however, predicted SW would be "the biggest movie of all time." Lucas thought SW was doomed and skipped its premiere to vacation with Spielberg in Hawaii where they heard SW was a boxoffice phenomenon and then came up with a new project to do together -- Raiders of the Lost Ark (1981), the first Indiana Jones blockbuster. Exhibitors were reluctant to book SW, thinking only kids and sci-fi buffs would buy tickets, so it opened at just 32 theatres. Two days later, it was in 43 theatres and a week later in 157. It peaked in mid-August at 1,096, a very wide run then. Produced for $11 million, its original release did $461 million domestically and $196 million abroad – huge numbers at Theatrical Poster for Star Wars, the time.