711 research outputs found
Walt Disney Fun-To-Read Library, Volume 19
No full textThis volume gives an overview of the eighteen volumes in the series, with lots of hints and tips for those involved in helping a child to learn to read. I am surprised that the comment on Goofy's Big Race (Volume 4) does not even mention the fable (TH) that underlies the story. The comment on Donald Cries Wolf! (Volume 14) does better in that regard. This book is tangential to the collection, helpful only in elucidating those two other books.This is a hardbound book (hard cover)Walt Disney Studio
Magic mirror on the wall, is Walt the author of them all? Walt Disney as a posthumous author
No full textDisney Brothers Cartoon Studio was founded in 1923 by brothers Roy and Walt Disney, and although it has undergone many changes over its nearly 100-year transformation into the media conglomerate The Walt Disney Company, animation still remains an important part of its business. The influence Walt Disney had as a producer on his studio’s early films has resulted in some theorists considering him to be their author using auteur theory, which is most frequently applied to live-action film directors. The use of Disney’s name in the branding of these films has also been used to construct him as an auteur during his lifetime, with it also noted that this is as equally applicable to the films released after his death in 1966. However, rarely in literature has the continued influence of Walt Disney on the feature-length animated films released by his studio after his death been investigated beyond the use of his name in their branding. Consequently, this thesis will use auteur theory in combination with other film studies approaches to explore Walt Disney as a posthumous author of Robin Hood (1973), The Lion King (1994), Atlantis: The Lost Empire (2001) and Frozen II (2019). By looking at the production of these films and their contents, including their story, animation, music, production design and use of technology, it will be shown the filmmaking practices shaped by Walt Disney during his lifetime have been adhered to in various ways by Walt Disney Animation Studios after 1966. As a result, a new framework for posthumous authorship in film will be proposed which suggests the adherence to a filmmaker’s approach after they have died situates them as a posthumous auteur, having implications for current conceptions of posthumous authorship in cinema as the completion of a film after its originator has died. </p
Linguistic Study of the Magic in Disney Lyrics
No full textSince 1994, and for the first time in Spain, the Disney dealer Buenavista Pictures has been providing the videotapes Welcome to Disney Classics. They contain the original versions with subtitles in English. This paper focuses on forty-seven songs from sixteen Disney animated films and analyses them from the perspective of English discourse. The choice of songs under analysis was unsystematic. When the project of this study was begun, there were sixteen issues available. This researcher considers that the material - both in quantity and quality - is highly significant and represents the development of Disney lyrics from their beginnings to this day. The words of these songs are, according to this researcher, a unique source of magic inspiration. They bring hope, fantasy and patterns of behaviour to children and teenagers, as well as humour and entertainment to adults. This collection of the most famous songs conveys an image of the man - Walt Disney, whom many consider as el "Mago de las cintas de los dibujos animados" (Universitas 1949: 395-405) or el "Mago de Burbank" (Fonte & Mataix, 2000) - and whose films have had an incalculable influence on our generations (1937-1996), merchandising and culture. Disney Lyrics are "magic words" that continue to attract, astonish or enchant the audience
The Grasshopper and the Ants
No full textThis booklet-plus-record from Valencia Street in San Francisco is tantalizingly similar to one already in the collection, found at Old Bank Antiques in Hastings nineteen years ago. Let me catalogue the differences. The cover's LLP 331 has become just 331. The copyright year on the front cover has changed from Roman to Arabic numerals. The verso of the front-cover has changed background colors from blue to tan and has again changed the copyright numerals. The format of the back-cover's record flap has changed, and many members of the series have been added. The last is now not 338 but 382. For some reason, the numbers from 370 to 380 are not used. The back cover is identical except that, instead of Copyright©1969 Walt Disney Productions Printed in the U.S.A., all of which had already been communicated on the front cover, there is now only Disneyland Records, Glendale, California. The booklet itself is in good condition, although the last page's black-and-white design has received some smudgy coloring. This marks the fourth different version of the booklet, including a 1968 version found at Pageturners in 1991 and the reworded 1971/77 version done to accompany a tape, not to mention three other presentations, all from the text of Margaret Wise Brown, of the same story. Those presentations, unlike these, do not feature Bubba the menacing vulture: Little Pig's Picnic (1939), Walt Disney's Story Land (1962), and The Grasshopper and the Ants (1993).Walt Disne
The Grasshopper and the Ants
No full textThis little booklet is identical, except for a few changes, with that published by Western for Disney in the same year. Western is mentioned only as printing the booklet. The other changes all have to do with the presence of the record in the book's new back flap. The back cover adds (c)1969 to the front cover's (c)1968. I now have three different versions of the booklet, including the reworded 1971/77 version done to accompany a tape, and three other presentations, all from the text of Margaret Wise Brown, of the same story. Those presentations, unlike these, do not feature Bubba the menacing vulture: Little Pig's Picnic (1939), Walt Disney's Story Land (1962), and The Grasshopper and the Ants (1993).Walt Disne
The Grasshopper and the Ants
No full textThe story fills out here and is quite different from other Disney versions: Little Pig's Picnic (1939) and Walt Disney's Story Land (1962). Here the new king of the ants, Andy, saves Hop, who does not have to go through a change of heart. Disney also adds Bubba the vulture.Walt Disne
Disarmament, demobilisation and reintegration (DDR) as a participatory process: involving communities and beneficiaries in post-conflict disarmament programmes
No full textDisarmament, Demobilisation and Reintegration (DDR) programmes are a structured approach to returning soldiers and militia members to civilian life. One of the aims is to support implementation of the peace process, by addressing their interests and reducing the chance of them becoming “spoilers”. Since the early 90s, DDR has been implemented in countries emerging from conflict, such as Sierra Leone, Liberia, Angola and Afghanistan. They are now underway in the Democratic Republic of Congo and Sudan. The results have been mixed, and the agencies responsible for designing and implementing DDR are still developing best practice.
This study aims to identify the role of a participatory approach as a factor in ensuring success in a DDR programme. Ex-combatants, receiving communities, local implementing partners, and newlyestablished national structures can all be involved to a greater or lesser degree in the process. The argument for greater involvement – a participatory approach – includes better outcomes in terms of ownership of the process and political will, improved likelihood that real needs are addressed, greater relevance for female ex-combatants and children, sustainability in reintegration and economic initiatives, and capacity building
A Bantam Begin-to-Learn Book
No full textThe third Section, Tell Me a Story, contains Cinderella and then five Aesop's fables with Disney characters: Donald spills the milk, Pluto loses the bone, and three pigs dig up the farm. Though not named, the hare beaten by the tortoise sure looks like Bugs Bunny!This is a hardbound book (hard cover)Walt Disney Studio
Symposium on Writing and Discipline: iSearch 2.0
No full textIncludes descriptive metadata provided by producer in MP3 file: "The Writing Studio - Podcasts - Symposium on Writing and Discipline: iSearch 2.0." By Vanderbilt University. A panel discussion held as part of the Vanderbilt Writing Studio's Writing and Discipline Symposium, Mar. 19-20, 2009. Members of the Department of Teaching and Learning of Peabody College discuss the "iSearch paper," providing a theoretical foundation for rethinking research and demonstrating specific strategies for teaching composition. Emily Bigelow, Nathan Phillips, Jasmine Ma, Blaine Smith, Erin VanDeWater, Walt Colt, and Tara Alvey are featured, and the panel is chaired by Kevin Leander
The Hare and the Tortoise
No full textThere is much that is different in this long account of the race, which is not itself motivated. The raccoon is the judge. Max's robe ties itself! Max plays tennis and soccer along the way--with himself! No nap! The characters resemble Bugs Bunny and Porky Pig. Compare with Words, Riddles, and Games (Disney, 1985).This is a hardbound book (hard cover)Walt Disney Production
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