The first time Jack climbs the beanstalk, everything takes him by surprise, and his theft of the gold is almost warranted by the giant's threats to eat him. The second time, however, Jack knowingly walks into danger with the intent of stealing, apparently not having tried earning a living in the interim. He also manipulates the giant's wife into letting him back into the house (Jacobs 138-9). The third time, his manipulation turns to trickery, and he and his mother don't even require anything else -- he could live a life of lazy luxury with just the hen. Instead, he decides to see what else he can steal just because he wants it, and though his theft of the harp shows signs of an appreciation for culture, is decision to ignore its pleas for its master makes the act almost rapacious in its disregard for anything but Jack's desires….

It was a film based on a novel authored by E.B. White and it received widespread critical acclamation. The limited animation technique posed threat to the success of the company later in the 1970's. With the earning of $60million a year Hanna Barbera now failed to produce new characters and shows. Hence in 1987 the Great American Communications Group acquired the company. Further in the year 1991, Turner Broadcasting System was purchased by Hanna Barbera. In 1992, the Cartoon Network was aired by Turner Broadcasting and this set the need for library of cartoons. So the Hanna Barbera buy provided them with 3000 half-hours cartoons. The marketing strategy of Hanna Barbera was now changed with the help of Fred Siebert, the company's president. More importance was given to the international market as a result of shift in its production to Asia. The extension gave birth to new characters and….

The use of a retractable plateau allows for the creation of new places in the woods, and also makes the woods seem like an ever-shifting place, where identity is continually disturbed and questioned. The impression is as if the viewer shifts suddenly from a community center theater production for children to the darkness of Les Miserables, another famous musical with a moving set.
The woods are not entirely a place of freedom, however. Set designer Aaron Kennedy makes use of multiple layers within the context of the scenery to convey different 'realms.' For example, Rapunzel, the adopted child of the witch, is kept high in a tower, far from the other characters. Until Rapunzel is cast out from the tower, she can only interact with others in a limited fashion, through her singing and letting down her glowing, golden hair. A lighted knothole represents the spirit of Cinderella's mother, who….

This is perhaps most notable in the punctuating words of the witch. "One midnight gone!" cries the witch at the mid-point of the first act, then sings "It's the last midnight," before she leaves the play. The return to the words and themes of the woods is the only constant of the play. This is because the play is about journeys, not about coming to some final moral conclusion. The woods, unlike the safety of the home, is unpredictable -- not even the witch knows that the spell she weaves to regain her beauty will deprive her of her magic, or that the golden floss first provided by the baker will come from her own beloved, adopted child Rapunzel.
Interestingly enough, Rapunzel is the one character who never says 'Into the Woods,' and when other characters provide often humorous reflections on what they have learned in the woods, such as….

It is a work that seems to be eerily familiar to what is happening in many areas of society today, and that is one aspect of the novel that makes it exceedingly frightening to read.
eferences

Abdolian, Lisa Finnegan, and Harold Takooshian. "The U.S.A. PATIOT Act: Civil Liberties, the Media, and Public Opinion." Fordham Urban Law Journal 30.4 (2003): 1429+.

A secondary source that gives useful information on the U.S.A. Patriot Act. Includes commentary on the pros and cons of the act, and how the media portrayed it. Also includes opponents to the act, and some of the most controversial policies included in the act.

Deery, June. "George Orwell. Nineteen Eighty-Four." Utopian Studies 16.1 (2005): 122+.

A secondary source that talks about Orwell's novel, why he wrote it, and when it was reissued in 2003. Also discusses Orwell's motives for writing the novel, and what influenced him. It is a review of the reissue,….