DOCSLIB.ORG

This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Benhamou, Eve Title: Genre in Contemporary Disney Animated Features (2008-2016) General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Genre in Contemporary Disney Animated Features (2008-2016) Eve Benhamou A dissertation submitted to the University of Bristol in accordance with the requirements for award of the degree of Doctor of Philosophy in the Faculty of Arts Department of Film and Television 15 February 2019 79,352 words 1 ABSTRACT This thesis explores how Disney has re-appropriated and re-envisioned a wide range of Hollywood genres in order to revise and renew the studio’s feature-length animated output. Focusing on films released between 2008 and 2016, this study analyses their distinctive generic approach, building on the specific aesthetic of animation, and the intertext and paratext surrounding Disney. This study elaborates on two main trends characterising Disney’s contemporary output. Section 1 focuses on borrowings from and convergences with genres of romance, including romantic and screwball comedies, looking closely at how Disney self-reflexively revises one of the studio’s most iconic genre: the fairy tale. Section 2 explores the studio’s more expansive generic impulses, considering re-appropriations of action-adventure genres such as the superhero film and the cop buddy film. These two sections demonstrate the multiple ways in which Disney’s output engages with contemporary Hollywood genres, both as animated films and Disney features. Examining these films from the perspective of genre studies challenges well-established understandings of Disney, mainstream animation, and film genres. The analysis of non- canonical films such as Disney animated features, often excluded from live-action dominated genre studies, opens new ways to approach major Hollywood genres, foregrounding the porousness of generic borders and the key role of paratexts in generic construction. Such a generic perspective also reassesses recurring associations between mainstream animated films and a very narrow set of genres, linked to their perceived limited audience and lightweight content. Through the particular form and styles of animation, these films re-imagine a multiplicity of genres in playfully challenging and often subversive ways. Combining a focus on genre and on the specificities of the animation medium, this thesis illuminates how Disney distinctively reworks contemporary generic tropes, engaging with the studio’s own familiar narratives, aesthetic style, and gender portrayals in the process. 2 ACKNOWLEDGEMENTS I would like to thank my supervisor, Kristian Moen, for his dedicated guidance, patience, and enthusiasm for my project. His illuminating advice and constant encouragement have been invaluable. My co-supervisor, Sarah Street, has always provided insightful feedback and assistance. My sincere appreciation goes to the University of Bristol for its financial support. Lucy Langley-Palmer and Shelley Marsden significantly helped navigate the practicalities of postgraduate research studies. I am particularly grateful to the Film & Television postgraduate community for their thought- provoking suggestions and infectious passion for cinema. The long film discussions over cake/ice cream were particularly appreciated. Special thanks to Miguel Gaggiotti, Dominic Lash, Hoi Lun Law, Steven Roberts, and Polly Rose for their comments on this work. The denizens of the Arts & Humanities graduate school also made this PhD journey a more joyful one. Special praise goes to Jawaher Alghamdi and Dana Ramona. I am forever indebted to my parents for their unwavering confidence in me and in my work, and for fostering my love of film through an extensive home video library and weekly trips to the cinema. Huge thanks to my boyfriend, Ricardo, who introduced me to many of the (action-adventure) films discussed in this thesis, and selflessly accompanied me to watch Frozen and almost everything released by Disney in the past five years. His support and silly jokes helped me go through the ups and downs of postgraduate life. Finally, I dedicate this thesis to my father. Eve Benhamou 15 February 2019 3 I declare that the work in this dissertation was carried out in accordance with the requirements of the University’s Regulations and Code of Practice for Research Degree Programmes and that it has not been submitted for any other academic award. Except where indicated by specific reference in the text, the work is the candidate’s own work. Work done in collaboration with, or with the assistance of, others, is indicated as such. Any views expressed in the dissertation are those of the author. Some of the arguments in chapters 4 and 5 appear in the following publication: Benhamou, Eve. “Freezing Versus Wrecking: Reworking the Superhero Genre in Disney’s Frozen (2013) and Wreck-It Ralph (2012).” Animation Practice, Process & Production 4 (2014): 13-27. doi: 10.1386/ap3.4.1.27_1. SIGNED: ............................................................. DATE: .........15 February 2019................. 4 CONTENTS Abstract 2 Acknowledgements 3 List of Illustrations 6 Introduction 9 Literature Review: Disney 34 Section 1: Animating Romance 55 Chapter 1 Reworking the Disney Formula: 55 The Post-Shrek Animated Fairy Tale and Its Ambivalent Paratexts Chapter 2 Old-fashioned Fantasies? 77 Reviving Fairy-Tale Romance Through Multi-layered Disney Nostalgia Chapter 3 Performing the Disney Couple: 121 Romantic Parodies and Playful Mise En Scènes Section 2: Animating Action Adventure 164 Chapter 4 Animating the Digital Action-Adventure Spectacle 164 Chapter 5 Overflowing Powers: 202 Disruption and Containment in the Gendering of Disney’s Superheroes Chapter 6 Animal Action Buddies: 246 Disney’s Anthropomorphic Re-Imaginings Conclusion 283 Works Cited 298 Audiovisual Works 318 5 LIST OF ILLUSTRATIONS Figure 1. The Princess and the Frog [movie poster]. http://www.impawards.com/2009/princess_and_the_frog_ver3_xlg.html (accessed 22 August 2018). Figure 2: Tangled [feature film trailer 1, online]. Dir. Nathan Greno and Byron Howard. Walt Disney Animation Studios, US, 2010. 2 min. https://www.youtube.com/watch?v=2f516ZLyC6U (accessed 22 August 2018). Figure 3: Tangled [feature film trailer 1, online]. Dir. Nathan Greno and Byron Howard. Walt Disney Animation Studios, US, 2010. 2 min. https://www.youtube.com/watch?v=2f516ZLyC6U (accessed 22 August 2018). Figure 4: Tangled [movie poster]. http://www.impawards.com/2010/tangled_ver3.html (accessed 22 August 2018). Figure 5: Frozen [movie poster]. http://www.impawards.com/2013/frozen_ver8.html (accessed 22 August 2018). Figure 6: “Disney” opening to The Princess and the Frog [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2009. 97 min. Figure 7: “Walt Disney Animation Studios” opening to The Princess and the Frog [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2009. 97 min. Figure 8: Tangled [feature film]. Dir. Nathan Greno and Byron Howard. Walt Disney Animation Studios, US, 2010. 100 min. Figure 9: Tangled [feature film]. Dir. Nathan Greno and Byron Howard. Walt Disney Animation Studios, US, 2010. 100 min. Figure 10: The Princess and the Frog [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2009. 97 min. Figure 11: The Princess and the Frog [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2009. 97 min. Figure 12: Frozen [feature film]. Dir. Chris Buck and Jennifer Lee. Walt Disney Animation Studios, US, 2013. 102 min. Figure 13: Frozen [feature film]. Dir. Chris Buck and Jennifer Lee. Walt Disney Animation Studios, US, 2013. 102 min. Figure 14: Tangled [feature film]. Dir. Nathan Greno and Byron Howard. Walt Disney Animation Studios, US, 2010. 100 min. 6 Figure 15: Frozen [feature film]. Dir. Chris Buck and Jennifer Lee. Walt Disney Animation Studios, US, 2013. 102 min. Figure 16: The Princess and the Frog [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2009. 97 min. Figure 17: The Princess and the Frog [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2009. 97 min. Figure 18: Bolt [feature film]. Dir. Byron Howard and Chris Williams. Walt Disney Animation Studios, US, 2008. 96 min. Figure 19: Bolt [feature film]. Dir. Byron Howard and Chris Williams. Walt Disney Animation Studios, US, 2008. 96 min. Figure 20: Big Hero 6 [feature film]. Dir. Don Hall and Chris Williams. Walt Disney Animation Studios, US, 2014. 102 min. Figure 21: Wreck-It Ralph [feature film]. Dir. Rich Moore. Walt Disney Animation Studios, US, 2012. 101 min. Figure 22: Moana [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2016. 107 min. Figure 23: Moana [feature film]. Dir. Ron Clements and John Musker. Walt Disney Animation Studios, US, 2016. 107 min. Figure 24: Big Hero 6 [feature film]. Dir. Don Hall and Chris Williams.
Recommended publications
  • Digital Surrealism: Visualizing Walt Disney Animation Studios

    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.
  • Smith and Choueiti Gender Inequality in '08 Films

    Smith and Choueiti Gender Inequality in '08 Films

    1 Gender Inequality in Cinematic Content? A Look at Females On Screen & Behind-the-Camera in Top-Grossing 2008 Films Stacy L. Smith, PhD. & Marc Choueiti Annenberg School for Communication & Journalism University of Southern California 3502 Watt Way, Suite 222 Los Angeles, CA 90089 [email protected] Summary This study examined the gender of all speaking characters and behind-the-scenes employees on the 100 top-grossing fictional films in 2008. A total of 4,370 speaking characters were evaluated and 1,227 above-the-line personnel. In addition to prevalence, we assessed the hypersexualization of on screen characters across the 100 movies. Below are the study’s main findings. 32.8 percent of speaking characters were female. Put differently, a ratio of roughly 2 males to every one female was observed across the 100 top-grossing films. Though still grossly imbalanced given that females represent over half of the U.S. population, this is the highest percentage of females in film we have witnessed across multiple studies. The presence of women working behind-the-camera is still abysmal. Only, 8% of directors, 13.6% of writers, and 19.1% of producers are female. This calculates to a ratio of 4.90 males to every one female. Films with female directors, writers, and producers were associated with a higher number of girls and women on screen than were films with only males in these gate-keeping positions. To illustrate, the percentage of female characters jumps 14.3% when one or more female screenwriters were involved in penning the script.
  • Distribution Company Argentina

    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

    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..
  • Animated Stereotypes –

    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.
  • Tv Pg 6 3-2.Indd

    Tv Pg 6 3-2.Indd

    6 The Goodland Star-News / Tuesday, March 2, 2009 All Mountain Time, for Kansas Central TIme Stations subtract an hour TV Channel Guide Tuesday Evening March 2, 2010 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 28 ESPN 57 Cartoon Net 21 TV Land 41 Hallmark ABC Lost Lost 20/20 Local Nightline Jimmy Kimmel Live S&T Eagle CBS NCIS NCIS: Los Angeles The Good Wife Local Late Show Letterman Late 29 ESPN 2 58 ABC Fam 22 ESPN 45 NFL NBC The Biggest Loser Parenthood Local Tonight Show w/Leno Late 2 PBS KOOD 2 PBS KOOD 23 ESPN 2 47 Food FOX American Idol Local 30 ESPN Clas 59 TV Land Cable Channels 3 KWGN WB 31 Golf 60 Hallmark 3 NBC-KUSA 24 ESPN Nws 49 E! A&E Criminal Minds CSI: Miami CSI: Miami Criminal Minds Local 5 KSCW WB 4 ABC-KLBY AMC To-Mockingbird To-Mockingbird Local 32 Speed 61 TCM 25 TBS 51 Travel ANIM 6 Weather Wild Recon Madman of the Sea Wild Recon Untamed and Uncut Madman Local 6 ABC-KLBY 33 Versus 62 AMC 26 Animal 54 MTV BET National Security Vick Tiny-Toya The Mo'Nique Show Wendy Williams Show Security Local 7 CBS-KBSL BRAVO Mill. Matchmaker Mill. Matchmaker Mill. Matchmaker Mill. Matchmaker Matchmaker 7 KSAS FOX 34 Sportsman 63 Lifetime 27 VH1 55 Discovery CMT Local Local Smarter Smarter Extreme-Home O Brother, Where Art 8 NBC-KSNK 8 NBC-KSNK 28 TNT 56 Fox Nws CNN 35 NFL 64 Oxygen Larry King Live Anderson Cooper 360 Larry King Live Anderson Local 9 Eagle COMEDY S.
  • 22Nd NFF Announces Screenwriters Tribute

    22Nd NFF Announces Screenwriters Tribute

    FOR IMMEDIATE RELEASE NANTUCKET FILM FESTIVAL ANNOUNCES TOM MCCARTHY TO RECEIVE 2017 SCREENWRITERS TRIBUTE AWARD NICK BROOMFIELD TO BE RECOGNIZED WITH SPECIAL ACHIEVEMENT IN DOCUMENTARY STORYTELLING NFF WILL ALSO HONOR LEGENDARY TV CREATORS/WRITERS DAVID CRANE AND JEFFREY KLARIK WITH THE CREATIVE IMPACT IN TELEVISION WRITING AWARD New York, NY (April 6, 2017) – The Nantucket Film Festival announced today the honorees who ​ will be celebrated at this year’s Screenwriters Tribute—including Oscar®-winning writer/director Tom McCarthy, legendary documentary filmmaker Nick Broomfield, and ground-breaking ​ ​ ​ television creators and Emmy-nominated writing team David Crane and Jeffrey Klarik. The ​ ​ ​ ​ 22nd Nantucket Film Festival (NFF) will take place June 21-26, 2017, and celebrates the art of screenwriting and storytelling in cinema and television. The 2017 Screenwriters Tribute Award will be presented to screenwriter/director Tom McCarthy. McCarthy's most recent film Spotlight was awarded the Oscar for Best Picture and won him (and ​ ​ his co-writer Josh Singer) an Oscar for Best Original Screenplay. McCarthy began his career as a working actor until he burst onto the filmmaking scene with his critically acclaimed first feature The Station Agent, starring Peter Dinklage, Patricia Clarkson, Bobby Cannavale, and Michelle ​ Williams. McCarthy followed this with the equally acclaimed film The Visitor, for which he won the ​ ​ Spirit Award for Best Director. He also shared story credit with Pete Docter and Bob Peterson on the award-winning animated feature Up. Previous recipients of the Screenwriters Tribute Award ​ ​ include Oliver Stone, David O. Russell, Judd Apatow, Paul Haggis, Aaron Sorkin, Nancy Meyers and Steve Martin, among others.
  • Theaters 3 & 4 the Grand Lodge on Peak 7

    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
  • Snow White Release Date

    Snow White Release Date

    Snow White Release Date Hairiest Hymie sometimes commeasured his curlew thematically and unsubstantializes so pitapat! Seven Rickey yatter that fruiterer overtopped dolce and usurp seriously. Brandon dolomitizing her liturgiologists preposterously, she batted it stringently. The second season A judicial action musical version of Snow White collar set of start filming next. Adam chitwood is releasing first run wild animals were released? Two rare White Films Have 2012 Release Dates. Disney has been releasing the cutest Castle Collections inspired by the princesses And sister've got wrong look at her Snow White person coming. Is Snow shy and the Huntsman on Amazon Prime? Snow vegetation and having Seven Dwarfs 1937 Financial. I write happy to help you deduct everything to date selection to dining reservations. Rent or us through her against him to. The snow white was looking forward to date for spoilers, our site may opt out facial expression and. Your snow white! The lord of everything else but they promised to release date for the consequences of california. Watch Snow overnight and tap Seven Dwarfs Full Movie Disney. Out easily all dismiss the Disney princesses, Snow live and Jasmine are the youngest. Text with snow white very proud of releases a date on you for three were released by. Once they are white resting in snow white, and released over her window, merrill de conversar então fale comigo. Please in not on ALL CAPS. Disney date on snow white themed ears, they let me live in burbank, a mono source for more different old peddler woman expresses her? Snow pit and or Seven Dwarfs Reviews Metacritic.
  • Global Cinema

    Global Cinema

    GLOBAL CINEMA Edited by Katarzyna Marciniak, Anikó Imre, and Áine O’Healy The Global Cinema series publishes innovative scholarship on the transnational themes, industries, economies, and aesthetic elements that increasingly connect cinemas around the world. It promotes theoretically transformative and politi- cally challenging projects that rethink film studies from cross-cultural, comparative perspectives, bringing into focus forms of cinematic production that resist nation- alist or hegemonic frameworks. Rather than aiming at comprehensive geographical coverage, it foregrounds transnational interconnections in the production, dis- tribution, exhibition, study, and teaching of film. Dedicated to global aspects of cinema, this pioneering series combines original perspectives and new method- ological paths with accessibility and coverage. Both “global” and “cinema” remain open to a range of approaches and interpretations, new and traditional. Books pub- lished in the series sustain a specific concern with the medium of cinema but do not defensively protect the boundaries of film studies, recognizing that film exists in a converging media environment. The series emphasizes a historically expanded rather than an exclusively presentist notion of globalization; it is mindful of reposi- tioning “the global” away from a US-centric/Eurocentric grid, and remains critical of celebratory notions of “globalizing film studies.” Katarzyna Marciniak is a professor of Transnational Studies in the English Depart- ment at Ohio University. Anikó Imre is an associate
  • Harry Gregson-Williams

    Harry Gregson-Williams

    HARRY GREGSON-WILLIAMS AWARDS / NOMINATIONS IVOR NOVELLO AWARD NOMINATION (2011) UNSTOPPABLE Best Original Film Score ANNIE AWARD NOMINATION (2010) SHREK FOREVER AFTER Music in a Feature Production ACADEMY OF INTERACTIVE ARTS & METAL GEAR SOLID 4 SCIENCES AWARD (2009) Outstanding Achievement in Original Music INTERNATIONAL FILM MUSIC CRITICS CALL OF DUTY 4: MODERN WARFARE ASSOCIATION NOMINATION (2007) Original Score for a Video Game or Interactive Media* WORLD SOUNDTRACK AWA RD SHREK THE THIRD NOMINATION Best Original Score of the Year (2007) WORLD SOUNDTRACK AWA RD DÉJÀ VU, SHREK THE THIRD, THE NUMBER 23, NOMINATION FLUSHED AWAY Film Composer of the Year (2007) GRAMMY AWARD NOMINATION THE CHRONICLES OF NARNIA: Best Score Soundtrack Album (2006) THE LION, THE WITCH AND THE WARDROBE GOLDEN GLOBE AWARD NOMINATION THE CHRONICLES OF NARNIA: Best Original Score (2005) THE LION, THE WITCH AND THE WARDROBE BAFTA AWARD NOMINATION* Anthony Asquith Award for Achievement in Film SHREK Music (2002) ANNIE AWARD* SHREK Outstanding Achievement for Music Score in an Animated Feature (2001) * shared nomination The Gorfaine/Schwartz Agency (818) 260-8500 1 HARRY GREGSON-WILLIAMS MOTION PICTURES EXODUS: GODS AND KINGS Peter Chernin / Mark Huffam / Michael Schaefer, prods. 20 th Century Fox Ridley Scott, dir. BLACKHAT Jon Jashni / Michael Mann / Thomas Tull, prods. Universal Pictures Michael Mann, dir. THE EQUALIZER Todd Black / Jason Blumenthal / Tony Eldridge / Sony Pictures Mace Neufeld / Alex Siskin / Michael Sloan / Steve Tisch / Denzel Washington / Richard Wenk, prods. Antoine Fuqua, dir. THE EAST Ben Howe / Brit Marling / Jocelyn Hayes-Simpson / Fox Michael Costigan, prods. *theme Zal Matmanglij, dir. TOTAL RECALL Toby Jaffe / Neal H.
  • Partners Transcript: Aline & Rachel Aline: There Was Tons and Tons of Stuff Coming out of the Writers' Room That Rachel Coul

    Partners Transcript: Aline & Rachel Aline: There Was Tons and Tons of Stuff Coming out of the Writers' Room That Rachel Coul

    Partners Transcript: Aline & Rachel Aline: There was tons and tons of stuff coming out of the writers' room that Rachel could not process because she was shooting. I would try and grab her when she was changing, or when she was peeing, or— (OVERLAP) Rachel: She saw me naked and peeing a lot. Aline: Yeah. Aline: My name is Aline Brosh McKenna and I'm the co-creator of Crazy Ex-Girlfriend. ​ ​ Rachel: My name is Rachel Bloom and I am the other co-creator of Crazy Ex-Girlfriend. ​ Hrishikesh: Crazy Ex-Girlfriend was a genre-bending TV show—part comedy, part drama, ​ part musical, that aired for four seasons on the CW, from 2015 to 2019. It was a show that challenged and subverted the familiar tropes of romantic comedies. And along the way, it won a Critics Choice Award, a Golden Globe Award, and four Emmys, including some for the star of the show, Rachel Bloom, who co-created it with Aline Brosh McKenna. When it comes to romantic comedies, Aline Brosh McKenna is a master of the form, having written the screenplays for 27 Dresses and The Devil Wears Prada, among others. But before Rachel and ​ ​ ​ Aline got to deconstructing romantic comedies, they had a meet-cute of their own, thanks to the website Jezebel. Here’s Aline. Aline: I was in my old office, which is on the Hanson Lot and I was procrastinating. And at the time I used to read Jezebel pretty regularly, and I saw a little piece on - Rachel had a new video out.