Dads, Daughters, And Disney: The Historical Trajectory Of Fairy Tale Fathers And Daughters

In my thesis I use a historical approach to close readings of fairy tale texts and movies to study the evolution of fathers, daughters, and marriage within three landmark tales: ¿Cinderella,¿ ¿Sleeping Beauty,¿ and ¿Snow White.¿ Using the works of Giambattista Basile, Charles Perrault, Jacob and Wilhelm Grimm, and Walt Disney and his cohort of animators, I trace the historical trajectory of these three elements, analyzing both the ways they change and develop as history progresses as well as the ways they remain consistent. Through close and comparative readings of primary sources and films, I demonstrate the power structures and familial dynamics evident through the interactions of fathers and daughters. Specifically, I show that through the weakness and ineptitude of fairy tale fathers, fairy tale daughters are able to gain power, authority, and autonomy by using magic and marriage to navigate patriarchal systems. The work I have done is important because it explores how each tale is a product of the story before it and thus that in order for these tales to continue to survive the test of time, we must not only recognize the validity of the academic merit of the Disney stories, but also remember them and others as we forge new paths in the stories we use to teach both children and parents. Specifically, this work is important because it explores the historical trend evident in the evolving relationships between fathers and daughters. This relationship ultimately it reveals the deep underlying need for family within all of us.

Disney's Internship Program: More than Hands-On Experience

The vast majority of hospitality management programs require students to participate in a hands-on work experience, which helps bridge the gap between theory and practice, providing the student with an opportunity to practice the theory learned in the classroom. The Walt Disney World Co. developed, implemented, and operates one of the most successful internship programs in the hospitality industry. It recognizes the need for business practitioners to become more involved in the education of future hospitality managers. The authors summarize the company's program and offer suggestions for other employers looking to give interns more than hands-on experience.

La traducción de las películas de animación: Las producciones de la era post-Disney; una nueva era en los dibujos animados

277 p.

Sand fly captures with Disney traps in area of occurrence of Leishmania (Leishmania) amazonensis in the state of Mato Grosso do Sul, mid-western Brazil

INTRODUCTION: The work was conducted to study phlebotomine fauna (Diptera: Psychodidae) and aspects of American cutaneous leishmaniasis transmission in a forested area where Leishmania (Leishmania) amazonensis occurs, situated in the municipality of Bela Vista, State of Mato Grosso do Sul, Brazil. METHODS: The captures were conducted with modified Disney traps, using hamster (Mesocricetus auratus) as bait, from May 2004 to January 2006. RESULTS: Ten species of phlebotomine sandflies were captured: Brumptomyia avellari, Brumptomyia brumpti, Bichromomyia flaviscutellata, Evandromyia bourrouli, Evandromyia lenti, Lutzomyia longipalpis, Psathyromyia campograndensis, Psathyromyia punctigeniculata, Psathyromyia shannoni and Sciopemyia sordellii. The two predominant species were Ev bourrouli (57.3%) and Bi flaviscutellata (41.4%), present at all sampling sites. Two of the 36 hamsters used as bait presented natural infection with Leishmania. The parasite was identified as Leishmania (Leishmania) amazonensis. CONCLUSIONS: Analysis of the results revealed the efficiency of Disney traps for capturing Bichromomyia flaviscutellata and the simultaneous presence of both vector and the Leishmania species transmitted by the same can be considered a predictive factor of the occurrence of leishmaniasis outbreaks for the human population that occupies the location.

“Something there that wasn’t there before”: representação do amor romântico em Beauty and the Beast (1991)

Dissertação apresentada à Escola Superior de Comunicação Social como parte dos requisitos para obtenção de grau de mestre em Audiovisual e Multimédia.

As crianças e a internet. Crianças e tweens, as redes sociais e as ferramentas interactivas em Portugal - uma análise do canal temático ‘DISNEY CHANNEL PORTUGAL’

Trabalho projecto de mestrado em Novos Media e Práticas Web

Sand fly captures with Disney traps in area of occurrence of Leishmania (Leishmania) amazonensis in the state of Mato Grosso do Sul, mid-western Brazil

INTRODUCTION: The work was conducted to study phlebotomine fauna (Diptera: Psychodidae) and aspects of American cutaneous leishmaniasis transmission in a forested area where Leishmania (Leishmania) amazonensis occurs, situated in the municipality of Bela Vista, State of Mato Grosso do Sul, Brazil. METHODS: The captures were conducted with modified Disney traps, using hamster (Mesocricetus auratus) as bait, from May 2004 to January 2006. RESULTS: Ten species of phlebotomine sandflies were captured: Brumptomyia avellari, Brumptomyia brumpti, Bichromomyia flaviscutellata, Evandromyia bourrouli, Evandromyia lenti, Lutzomyia longipalpis, Psathyromyia campograndensis, Psathyromyia punctigeniculata, Psathyromyia shannoni and Sciopemyia sordellii. The two predominant species were Ev bourrouli (57.3%) and Bi flaviscutellata (41.4%), present at all sampling sites. Two of the 36 hamsters used as bait presented natural infection with Leishmania. The parasite was identified as Leishmania (Leishmania) amazonensis. CONCLUSIONS: Analysis of the results revealed the efficiency of Disney traps for capturing Bichromomyia flaviscutellata and the simultaneous presence of both vector and the Leishmania species transmitted by the same can be considered a predictive factor of the occurrence of leishmaniasis outbreaks for the human population that occupies the location.

Modification of Disney trap for capture of sand flies (Diptera: Psychodidae: Phlebotominae)

This paper describes the modifications made to the original model of the Disney trap, with a view to easier handling of the same, greater practicability in the collection of sand flies, protection of the animal bait and durability of the trap in the field.

Strategic alliances. How to make them succeed

Mitjançant aquest treball hem analitzat com en aquest temps en què la internacionalització és un fet necessari i les empreses volen globalitzar, aquestes decideixen unir-se per tal d'aconseguir. Aquí analitzem els diferents tipus d'unió possible centrant-nos més específicament en les aliances estratègiques però veient també les adquisicions. Primer analitzem quan és més convenient aliar-se amb una empresa o adquirir-la. Això ho portarem a terme mitjançant el desenvolupament d'una sèrie d'elements a tenir en compte. Un cop vist això, analitzem els principals motius pels quals les empreses decideixen aliar-se, entre els quals destaquen l'obtenció de coneixement i recursos. A més analitzem les diferents variants d'aliança estratègica com són les llicències, franquícies, contractes de recerca i desenvolupament, Joint Ventures, etc. i quan és més convenient desenvolupar una o una altra. En aquest treball, ja que com veurem les aliances tendeixen a fracassar ja que les empreses no les implementen correctament o no dediquen el temps suficient a analitzar l'entorn i les condicions per veure quina estratègia li convé més a l'empresa, analitzarem els elements necessaris per fer-les funcionar i els factors claus d'èxit d'aquestes aliances com ara l'experiència, la reputació, la confiança, els objectius clars, el Know-how, la cultura ... A més en aquest treball analitzem el cas de l'aliança estratègica sorgida entre Disney i Pixar el 1991. Aquest anàlisi el duem a terme tenint en compte els factors que Dyer et. al. esmentà en el seu estudi. Aquest anàlisi el realitzem amb l'objectiu de conèixer si l'aliança realitzada per ambdues empreses va ser una estratègia encertada o si per contra deurien haver dut a terme una altra estratègia, la qual els hauria aportat més beneficis.

Doré et le cinéma

Selon Ray Harryhausen, maître des effets spéciaux cinématographiques, « Gustave Doré aurait été un grand chef opérateur [...] il regardait les choses avec le point de vue de la caméra ». L'oeuvre de Doré a marqué de manière indélébile l'imaginaire filmique depuis ses origines. Et le cinéma, en retour, a « gravé » Doré dans l'imaginaire du XXe siècle. Peu de films sur la Bible, depuis la Vie et Passion de Jésus Christ produit par Pathé en 1902, qui ne se réfèrent à ses illustrations, ni d'adaptation cinématographique de Dante ou encore de Don Quichotte qui ne l'aient pris comme modèle, de Georg Wilhelm Pabst et Orson Welles à Terry Gilliam. Il n'est pas de films sur la vie londonienne et victorienne qui n'empruntent leurs décors aux visions de Londres, un pèlerinage, qu'il s'agisse de David Lean, de Roman Polanski ou de Tim Burton. Nombre de scènes oniriques, fantastiques, fantasmagoriques ont puisé dans l'oeuvre graphique de Doré, depuis le Voyage dans la lune de Georges Méliès en 1902. Si dans le domaine du dessin animé ou de l'animation, la dette de Walt Disney envers Doré est immense, ses forêts « primitives », notamment celles d'Atala, ont aussi servi aux différentes versions de King Kong, de l'original de 1933 au film de 2005 de Peter Jackson qui s'était déjà appuyé sur l'oeuvre de Doré dans Le Seigneur des anneaux. Ce chapitre vise à saisir l'étendue et la signification de cette imprégnation de l'imaginaire de Doré dans la culture de masse, de la dette explicite de Jean Cocteau envers les illustrations des Contes de Perrault dans La Belle et la bête (1945) aux réminiscences doréennes du personnage de Chewbacca dans la Guerre des Etoiles ou de la saga d'Harry Potter.

Cinema and the Work of Doré

According to Ray Harryhausen, a special effects expert in the film industry, "Gustave Doré would have made a great director of photography . . . He saw things from the point of view of the camera." Doré's work has had a permanent impact on the imaginative realm of film since its very early days. In return, the silver screen has etched Doré into the 20th century imagination. Almost every film about the Bible since The Life and Passion of Jesus Christ produced by Pathé in 1902 refers to his illustrations, and every film adaptation of Dante or Don Quixote has used him as a model, from Georg Wilhelm Pabst and Orson Welles to Terry Gilliam. All films dealing with life in London in the Victorian era by directors ranging from David Lean, to Roman Polanski and Tim Burton draw on the visions in London: a pilgrimage for their sets. A large number of dream fantastical or phantasmagorical scenes take their inspiration from Doré's graphic world, beginning with Georges Méliès' A Trip to the Moon in 1902. In the realm of cartoons and animation, Walt Disney owes a huge debt to Doré. Doré primal forests, from Atala in particular, were also used in the various versions of King Kong from 1933 to the 2005 film by Peter Jackson, who had already drawn on Doré for The Lord of the Rings. Jean Cocteau was also indebted to the illustrations for Perrault's Fairy Tales for his Beauty and the Beast (1945), as was George Lucas for the character Chewbacca in Star Wars (1977) and even the Harry Potter film series. Through his influence on film history, Doré shaped the mass culture imagination.

La vie "fantastique" des frères Grimm: une biographie fictive par Terry Gilliam

« The Brothers Grimm » (2005) n'est pas un biopic de Terry Gilliam sur Jacob et Wilhelm Grimm, auteurs du célèbre livre Contes de l'enfance et du foyer (Kinder- und Hausmärchen, 1812), mais un film fantastique s'inspirant du monde merveilleux associé à leurs noms. Cet article étudie la manière dont les auteurs allemands et leurs textes sont représentés dans le film, souvent au travers de phénomènes de réception dus en grande partie aux adaptations pour enfants, à l'instar des dessins animés de Walt Disney. Il analyse ensuite la façon dont l'intrigue convoque le genre du conte de fées tout en exploitant les codes du film fantastique, et décrit la mise en scène de l'écriture et de l'objet livre qui fait de The Brothers Grimm une sorte de récit de la genèse des Contes de l'enfance et du foyer.

Hahmonimet hahmottumassa. Disney-piirroselokuvissa esiintyvien suomenkielisten henkilönnimien sananmuodostus, rakenne ja merkityssuhteet

Tämä pro gradu -tutkielma on vuosina 1936–1986 valmistuneiden 11 pitkän Disneypiirroselokuvan fiktiivisten hahmojen suomenkielisten nimien onomastinen tutkimus. Pyrin käsittelemään elokuvien hahmonnimien muodostusta, rakennetta ja merkitystä kognitiivisesta näkökulmasta. Aineistossani analysoimani elokuvien 112 hahmonnimeä ovat johdoksina, yhdyssanoina, kollokaatioina ja appellatiiveina esiintyviä henkilönnimiä. Korpukseeni keräämäni hahmonnimet esiintyvät eri nimityyppien kategorioissa joko varsinaisina niminä (esim. Kulkuri), titteleinä ja ammattia ilmaisevina niminä (esim. Suurherttua), sukulaisuutta ilmaisevina niminä (esim. Äiti Osteri), lempija kutsumaniminä (esim. Tipunen) tai kölliniminä (esim. Vanha Puskajussi). Otan historiallisen morfologian lähtökohdan ainestoni hahmonnimien sananmuodostukseen ja sovellan siihen kognitiivisia menetelmiä. Diakronisista diminutiivisista aineksista esimerkiksi ovat kehittyneet feminiinistävät tai affektiiviset johtimet, kuten -tAr tai -(i)nen. Esitän myös, että useat hahmonnimet kuvailevat tai luonnehtivat takoitettaan niiden sananmuodostustapojen tai appellatiivien perusteella. Johdinten, yhdys- tai kollokaatio-osien tai yksittäisten appellatiivien avulla voidaan nähdä, että nimenainekset kategorisoivat hahmonnimen kokonaan. Hahmonnimien rakenteesta osoitan, että johdosnimissä on sekä kategorisoiva että kategorisoitu nimenelementti. Funktionaalis-semanttisen luokittelumallin näkökulmasta osoitan, että kaikissa hahmonnimissä on joko luokitteleva tai yksilöivä nimenosa tai molemmat. Hahmonnimen kategoriointi perustuu sen nimenelementteihin ja -osiin. Hahmonnimien SUKUPUOLI-kategorioinnissa esimerkiksi naishahmon nimi (37 nimeä) on prototyyppisesti merkitty feminiiniksi joko johtimella (32 %) tai appellatiivilla (46 %), kun taas mieshahmon nimi (75 nimeä) on merkitty selvästi maskuliiniksi vain appellativeilla (44 %) tai on kokonaan merkitsemätön (46 %). Kategorioissa NAISPUOLINEN ja MIESPUOLINEN on myös sukupuolen todennäköisiä tunnusmerkitsijöitä. Tämän hahmonnimistön merkityssuhteet kognitiivisiin alueihin voivat olla joko suoria tai epäsuoria. Suora merkityssuhde koskee tarkoitteiden nimen nimenosiin heijastuvia transparentteja ominaispiirteitä (esim. Pahatar). Epäsuora merkityssuhde voi olla metaforinen, kuten ELÄIN ON IHMINEN (esim. Herttuatar), metonyyminen, kuten ÄÄNI EDUSTAA OLENTOA (esim. Helinä-keiju) tai symbolinen (esim. Tuhkimo). Esitän lisäksi yhden hahmonnimen merkityssuhteen, jossa on pakatun merkityssuhteen piirteitä.