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Other cinematic techniques that aided in the telling of the story was simplicity of the focus and frames. ith modern computer animation, shots that pan, move in and out, or adjust focus without cuts are now as commonplace in animation as they are in live-action films. The older style of animation, in which backgrounds were often stationary and hardly ever shifted scale without a cut, is actually better suited to the telling of Alice in onderland. This keeps the focus on Alice and her experience in onderland, scaling everything to match whatever her current body size happens to be and relating importance and relationship by the placement of the various characters and background elements in relation to Alice within the frame. The film and therefore viewer's focus shifts, generally speaking, only when Alice's does, in keeping with the flow and construction of the novel.
Another film technique employed in the…
Alice in Wonderland. Dir. Clyde Geronimi, Wilfred Jackson, Hamilton Luske. Disney, 1951.
Auerbach, Nina. "Alice and Wonderland: A Curious Child." Victorian Studies, Vol. 17, No. 1, the Victorian Child (Sep., 1973), pp. 31-47. Retrieved via JSTOR 12 January 2009.
Dodgson, Charles L. Alice's Adventures in Wonderland. 1866. New York: Harper-Collins, 1992.
Levin, Harry. "Wonderland Revisited." The Kenyon Review, Vol. 27, No. 4 (Autumn, 1965), pp. 591-616. Retrieved via JSTOR 12 January 2009.
The natural hatred between mice and cats is reflected in the mouse's expressed anguish against Alice's amazed narrative of cats in her world: "Let us get to the shore, and then I'll tell you my history, and you'll understand why it is I hate cats and dogs." This simple line carries with the weight of the history of social inequality: Carroll endeavors his readers to look into history how inequality has become a long tradition encouraged and perpetuated in human society by people with self-interests. In this example, grown-ups become symbols for the wealthy people who continually oppress the poor in order to gain control over society.
In the same respect, Carroll's expression of disdain for grown-ups as shown in "Alice's" also illustrates his disagreement over his protagonist's 'growing up.' Alice's transformation to being a giant is both a pleasant and unpleasant experience: as a giant, the possibilities of doing…
Alice in Wonderland as Victorian Literature -- Being a child in Victorian England was difficult. They had to behave like the adults did, follow all rules, they had to be seen but not heard. Children, however, are naturally curious; unable to sit for long periods of time, and as part of normal cognitive development, consistently asking questions about the world. In fact, childhood is the period when a child acquires the knowledge needed to perform as an adult. It is the experiences of childhood that the personality of the adult is constructed. Alice's adventures, then, are really more of a set of curiosities that Carroll believed children share. Why is this, who is this, how does this work? and, her journey through Wonderland, somewhat symbolic of a type of "Garden of Eden," combines stark realities that would be necessary for her transition to adulthood.
For Victorians, control was part of…
Sander, David. The Fantasic Sublime: Romanticism and Transcendence in Nineteenth-Century Fantasy Literature. Westport, CT: Greenwood Press, 1996.
Thacker, Debora and Jean Webb. Introducing Children's Literature. New York: Routledge, 2002.
Walker, Stan. "Novels for Students: Alice in Wonderland." 1999. Enotes.com. .
Alice's Adventures Wonderland popular children's books time, ( sequel, Through Looking-Glass What Alice Found There 1871) print. It considered beginning fantasy genre children adolescents.
Lewis Caroll's 1865 novel "Alice's Adventures in Wonderland" is a timeless text, considering the way that many individuals throughout time have had the tendency to identify either themselves or some feelings they were experiencing with the book's protagonist. While it might seem that the story is about a girl coming across a series of silly episodes that are similar to most tales. In reality, upon further analysis someone might discover a multitude of instances involving satire and irony. The novel is also largely meant to relate to the experiences that a person goes through as he or she attempts to discover themselves.
Alice essentially goes through a process that makes it possible for her to mature and to gain a more complex understanding of the world.…
Edgar Allen Poe and Lewis Carroll: Unhealthy and Healthy Relationships With Women
Edgar Allan Poe and Lewis Carroll are two writers where their relationships with women, and especially with young children have been questioned. The main issue with Poe is his marriage to his 13-year-old cousin Virginia. For Carroll, the issue is the strong relationships he had with young girls. For both writers, suggestions have been made that their relationships with young women are perverse. To consider these claims it is necessary to look at the types of relationships each writer had with young women and the reasoning for these relationships. A consideration of this will show that Edgar Allan Poe does have unhealthy relationships with women, while Lewis Carroll has healthy relationships with women.
Edgar Allan Poe has a history of choosing inappropriate relationships. This began when Poe was attending private school, when he fell in love with a…
Carroll, Lewis. 1991. Alice's Adventures in Wonderland. Bridlington: Priory Books.
Kamm, Antony. 1993. Biographical Dictionary of English Literature. Glasgow: Harper Collins Publishers.
Moore, Edwin & Moore, Fiona Mackenzie. 1993. Concise Dictionary of Art & Literature. London: Tiger Books International.
Poe, Edgar Allan. 1991. Alone. In The Raven and Other Favorite Poems, 44. New York: Dover Publications, Inc.
In comparing a number of literary elements in one story, Smith and Wiese (2006) contend that at times, when attempting to transform an old story into a modern multicultural version, cultural meanings of the original story may be lost. In turn, the literature does not subject the reader to another culture. For instance, in the story about the fisherman, that Smith and Wiese access, the plot remains similar plot, however, significant changes transform the reported intent to make the story multicultural. Changes included the fisherman's daughter's stated name, being changed from one common to her culture to Maha. Instead of God, as written in the original version, the reference notes "Allah." Other changes Smith and Wiese point out include:
& #8230;The admonition to retrieve the fish or "be sorry" instead of the threatened curse, the reference to the golden shoe as a sandal instead of a clog;
Anderson, Connie Wilson. (2006). Examining Historical Events through Children's Literature.
Multicultural Education. Caddo Gap Press. 2006. Retrieved May 03, 2009 from HighBeam Research: http://www.highbeam.com/doc/1P3-1229798181.html
Banned Book Quiz. (2009). Retrieved May 03, 2009 from http://www.shetland-library.gov.uk/documents/BannedBooksWBD09quiz.pdf
Bottigheimer, Ruth B. (2008). Stories of heaven and earth: Bible heroes in contemporary
Children's Literature Timeline
LITERATURE FOR CHILDREN: A SELECTIVE TIMELINE
Charles Perrault. Histoires ou Contes du Temps Passe: Les Contes de ma Mere l'Oie. (Tales and Stories of the Past with Morals: Tales of Mother Goose.) France.
Jacob and Wilhelm Grimm. Kinder- und Haus-marchen. (Children's and Household Tales.) Germany.
Hans Christian Andersen. Eventyr Fortalte For Born (Fairy Tales Told To Children.) First and Second Volumes. Denmark.
Heinrich Hoffmann, Struwwelpeter (Shock-Headed Peter). Germany.
Lewis Carroll, Alice's Adventures in Wonderland. Britain.
Louisa May Alcott, Little Women. U.S.A.
Mark Twain. The Adventures of Tom Sawyer. U.S.A.
Carlo Collodi. Le Avventure di Pinocchio. (The Adventures of Pinocchio.) Italy.
1900. L. Frank Baum. The Wonderful Wizard of Oz. U.S.A.
1926. A.A. Milne, Winnie the Pooh. Britain.
1937. J.R.R. Tolkein, The Hobbit. Britain.
1944. Astrid Lindgren, Pippi Langstrump. (Pippi Longstocking.). Sweden.
1952. E.B. White. Charlotte's Web. U.S.A.
1957. Dr. Seuss. The Cat in the Hat. U.S.A.
History of Disneyland
Walt E. Disney sat down on a bench at a small amusement park in California to watch his daughters play. While he was setting there, he noticed how tattered and filthy the small amusement park was. He also observed people's reactions to the different rides and noticed the parents of the children had nothing to do. They would be ready to go home halfway through the day, and their children were still playing and having fun.
This is where Walt started thinking about building a new type of amusement park. He wanted to create an amusement park that was clean, with safe rides, and one that had rides for and attraction for children and their parents. Eventually, this idea turned into Disneyland.
Years before he started construction on Disneyland, Walt completely created the entire theme park in his mind. He traveled the United States, and visited buildings…
http://www.disneylandsource.com/history / http://www.geocities.com/Hollywood/Boulevard/1877/history.html
Bob Sehlinger. The Unofficial Guide to Disneyland, 1990. Hungry Minds, Inc.; ASIN: 002862615X; (September 1998)
Asian media, specifically anime and animated movies like "Spirited Away," impact Saudi youth?
Anime or what some may consider, Japanese animation, is one of the main aspects of Japanese media. It has reached millions of people worldwide and inspired fashion, movies, and even an entire city, Akihabara. Hayao Miyasaki's "Spirited Away" is what some consider one of his best works. The magic of this animated film has brought countless fans into the realm of anime and Japanese animation. ith its themes of connection, the spirit world, and memory, it has generated meaning and depth within its growing audience. The creator, Hayao Miyasaki, is a traditional artist, focusing on strong images and themes of love, good and evil, and childhood to portray his character and tell his stories. These stories have brought him and Japanese animation in general, increased success, with "Spirited Away" becoming the most popular Japanese animated film…
Baber, Zaheer. CyberAsia: the Internet and society in Asia. Leiden: Brill, 2005. Print.
Cubbison, Laurie. "Anime Fans, DVDs, and The Authentic Text." The Velvet Light Trap 56.1 (2005): 45-57. Project Muse. Web. 9 Apr. 2014.
Darling-Wolf, Fabienne. "Virtually Multicultural: Trans-Asian Identity and Gender in an International Fan Community of a Japanese Star." New Media & Society 6.4 (2004): 507-528. Print.
Ellis, Jonathan. "The art of anime: Freeze-frames and moving pictures in Miyazaki Hayao's." Journal of Japanese & Korean Cinema 2.1 (2010): 21-34. EBSCO. Web. 9 Apr. 2014.
For Arrietty, the boy represents the unknown elements of adult life. She has no young men within the walls with whom she can form relationships, marry or start a family. The boy is the first young male she has ever met. One of the first things he points out to her is the obviousness of her situation. "One day," he told her, smiling triumphantly, "you'll be the only Borrower left in the world!" (87). The boy's purpose is to shake the family out of isolation and inertia and force them out into the larger world.
Mrs. Driver, the cook, was created by Mary Norton to represent the adult double standard of "do as I say, not as I do." She mistrusts children and Borrowers because they are disruptive elements to her system of order and authority. These disruptions have the potential to threaten her livelihood and her personal…
Norton, Mary. The Borrowers. New York: Scholastic, Inc., 1981. Print.
movie industry in America has been controlled by some of the monolithic companies which not only provided a place for making the movies, but also made the movies themselves and then distributed it throughout the entire country. These are movie companies and their entire image revolved around the number of participants of their films. People who wanted to see the movies being made had to go to the studios in order to see them. They made movies in a profitable manner for the sake of the studios, but placed the entire industry under their control and dominated over it. The discussion here is about some of those famous studios inclusive of that of names like Metro Goldwyn Mayer, Culver, RKO, Paramount Studios, Warner Bros, 20th Century Fox, Walt Disney Studios, Universal Studios, Raleigh Studio, Hollywood Center Studio, Sunset Gower Studio, Ren-Mar Studios, Charlie Chaplin Studios and now, Manhattan Beach Studio.…
"What better way to annoy the Hollywood liberals than to remind them every single day that
George W. Bush is STILL the President?" Retrieved from https://www.donationreport.com/init/controller/ProcessEntryCmd?key=O8S0T5C8U2 Accessed 15 September, 2005
"What's interesting about the business is that it's no longer the movie business" Retrieved from http://www.pbs.org/wgbh/pages/frontline/shows/hollywood/picture/corptown.html Accessed 14 September, 2005
Just as in the U.S. economy, where individuals have been economically left behind, such will be, and is, the case in the emerging global economy (p. 10). Ayres says that the impression, or the turning of society's blind eye towards the chaos of the economically disenfranchised, tends to cause the more affluent amongst us to believe that the term "global" means everybody will be a part of the emerging global economics, and this will produce an economic benefit that will be enjoyed by everyone (p. 10). That is not accurate, and, moreover, those people who presume to take a comfort in the economic globalization are not just turning a blind eye to the disenfranchised, but may find their selves vulnerable in a way that serves to be their light, much like Hank's in Monster's Ball. On this point Ayres says:
There is a popular impression, among the affluent and…
Ayres, Ed. "The Expanding Shadow Economy." World Watch July-Aug. 1996: 10+. Questia. 3 Mar. 2008 http://www.questia.com/PM.qst?a=o&d=5000388341 .
Boin, Arjen. Crafting Public Institutions: Leadership in Two Prison Systems. Boulder, CO: Lynne Rienner, 2001. Questia. 3 Mar. 2008 http://www.questia.com/PM.qst?a=o&d=105966245 .
The food can be ordered by email or fax and is set 15 minutes before the doors opening or during the event, according to customers' wish.
Analysis of facility and focus area
After visiting the Arena whose characteristics I have tried to summarize up to this point of the essay, my opinion is that the facility perfectly moulds over the customers' needs and financial possibilities. It provides glamour for all those who can afford it, but also a comfortable, entertaining atmosphere for all those Americans that come back home late at night, open the refrigerator and drink the beer for which they work hard all day long. Thus, the Arena may be considered an oasis that people choose when they want to spend some moments "far from the madding crowd" of day-to-day life. In order to achieve this objective, the management uses various stratagems to enhance the programs' attractiveness. For…
http://www.cheapovegas.com/orleans.html.Last retrieved on November 5, 2006 http://www.lasvegaswranglers.com.Last retrieved on November 5, 2006 http://www.orleansarena.com.Last retrieved on November 5, 2006 http://en.wikipedia.org/wiki/Orleans_Arena . Last retrieved on November 5, 2006 http://en.wikipedia.org/wiki/Las_Vegas_Wranglers.Last retrieved on November 5, 2006
Figure 3. Cover art for Miyazaki's Nausicaa DVD set
Source: http://4.bp.blogspot.com/_t68ar0SFX54/SrvMLVUJMyI/AAAAAAAADy4 / Ol1Z06z6YdE/s400/Nausicaa.jpg
The economic success of Nausicaa convinced its producers that the market for their type of work was viable, resulting in the explosion of the global manga and anime markets (Schilling, 1997). Launching Studio Ghibli as a framework in which to produce his theatrical follow-up to Nausicaa, Miyazaki's worked on Tenku no Shiro Laputa, another fantasy adventure story concerning a search for the lost flying island of Laputa. According to Schilling, "As in Nausicaa, a spunky princess was the heroine and the story contained a respect-nature-or-die subtext, but the action element was more central, the plotting less labyrinthine" (1997, p. 139). This release failed to achieve the financial success that Nausicaa enjoyed, though (Schilling, 1997). In 1988, Miyazaki wrote and directed a new movie, Tonarl no Totoro ("My Neighbor Totoro") in which he applied a different approach that…
Ishihara, T. (2005). Mark Twain in Japan: The Cultural Reception of an American Icon.
Columbia, MO: University of Missouri Press.
Koppelman, A. (2008). "Why Phyllis Schlafly Is Right (but Wrong) about Pornography."
Harvard Journal of Law & Public Policy, 31(1): 105-107.
Pranksters and Intersubjectivity
The Concept of Intersubjectivity in the Electric Kool-Aid Acid Test
Ken Kesey and the Merry Pranksters were led by a kind of nouveau-culture that had sprung out of the Beat movement like Athena out of the head of Zeus when struck by a hammer. The hammer that struck the Beat poets, of course, was LSD -- better known as acid -- an integral (and legal) ingredient in the search for intersubjectivity. Tom Wolfe's The Electric Kool-Aid Acid Test is a chronicle of the Pranksters' attempt at intersubjective transcendence -- the melding of all minds into one, through drug-induced states. Wolfe's narrative style is an attempt to put into words the exact experience of the Pranksters' intersubjectivity -- yet, Wolfe, himself a master stylist and satirist, uses the narrative not only to chronicle but also to expose the absurdity at the core of the "transcendent" effort of this…
alt Disney Company Scenario
Scene: Fiscal Karat (FK), host of TV's Let's Talk Money, is seated at the center of an oak conference table. Let's Talk Money is a weekly PBS talk show that interviews business leaders and often finds government officials to debate certain ideas and programs. Tonight's episode features Mr. Michael McDuck (MM), CEO of alt Disney Company and Mr. Rigid B. Crat (RC), Senior Administrator for the U.S. Treasury's Anti-trust Division.
FK: Good evening and welcome to Let's Talk Money, your weekly adventure into provocative and interesting monetary topics ranging from mild to wild. Tonight, a special treat for the kid in us all -- Michael McDuck, CEO of alt Disney goes head to head with the Administration's Senior Anti-Trust Maven, Rigid B. Crat. elcome gentlemen!
First though, let's take a moment to establish a bit of background. The alt Disney Company is a multinational mass media…
Disney Vows to Investigate Claims of ABuse at Factories. (2005, June). Retrieved from SACOM: http://sacom.hk/archives/66
J&J, Walt Disney, Kraft Foods Top Rankgin. (2010, October 13). Retrieved from Environmental Leader: http://www.environmentalleader.com/2010/10/13/jj-walt-disney-krafts-foods-top-csr-ranking/
Hearing: Are Government Contractors Exploiting Workers Overseas? (2011, November 2). Retrieved from Sparky - Keeping You Plugged In: http://mssparky.com/2011/10/hearing-are-government-contractors-exploiting-workers-overseas/
Areeda, P., & Hovenkamp, H. (2011). Fundamentals of Antitrust Law. New York: Kluwer Law.
Life of Walt Disney [...] two questions: How did Walt manage each functional piece of the business and develop needed organizational capabilities? In addition, how did Walt achieve strategic and financial objectives?
WALT DISNEY'S FINANCIAL BEGINNINGS
Walt began his career in Kansas City, Missouri, where his family lived, and for years, the business teetered on the brink of collapse. Disney learned how to manage what little funds he had, and continue with his work from these early experiences. While still in Missouri, he incorporated a company called "Laugh-O-gram Films." With his last $500 from the venture, he began a series of cartoons based on "Alice in Wonderland." When his money ran out, he headed to Hollywood, where he set up a "studio" in his uncle's garage, and "wrote to M.J. Winkler, a film distributor, announcing that he was 'establishing a studio in Los Angeles for the purpose of producing a…
Author Unknown. (1999). Walt Disney. Business Leader Profiles for Students. Retrieved November 25, 2002 from the Gale Research Web site: http://www.galenet.com/servlet/BioRCBennis , W., & Biederman, P.W. (1997). Organizing Genius: The Secrets of Creative Collaboration. Cambridge, MA: Perseus Books.
Editors. (2002). Walt's Story. Retrieved November 25, 2002, Disney.Go.com Web site: http://disney.go.com/disneyatoz/waltdisney/maincollection/waltsstoryepisode01.html
Eliot, Marc. (May 1993). The dark side of Uncle Walt. (Walt Disney). Los Angeles Magazine, v38 n5 p48(8). Fishwick, M.W. (1954). American Heroes, Myth and Reality. Washington, DC: Public Affairs Press.
Rich, Alan. (Jan. 1983). They used to call it Mickey Mouse U, but not these days. Smithsonian, v13 p46 (10).