The Town Where Mickey Mouse Has Lived is a documentary video program in which people talk about themselves and the life of a small town. The town is known as the boyhood home of Walt Disney, which he recalled as the most charming place in his life. The interviews explore the personal perspectives of the people and why they stay in Marceline despite the fact that Disneyland, full of Disney's memories of Marceline, attracts people while the town has been obsolescent for a long time.

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Frederick Davis, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Jan. 12, 2005). Includes bibliographical references.

Texte remanié de: Dissertation Ph. D.--History--University College London. / Bibliogr. p. 253-262. Filmogr. p. 263-266.

Thesis (M.A.)--Carleton University, 2003. / Includes bibliographical references (p. 117-121). Also available in electronic format on the Internet.

Thesis (M.A.I.S.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 133-138). Also available on the World Wide Web.

Post World War II victory culture and its fallout-the consensus ideology-led to the creation of a middle class willing to conform to a prescribed set of ideals, safely removed from all danger, and enjoying the material benefits of a growing middle-class income bracket. Walt Disney and Hugh Hefner, two seemingly ideologically opposed businessmen, recognized this economic, political, and cultural shift and sought to capitalize on it financially. A cultural-history study of both companies revels many similarities in each company's design, development, and impact on American culture. To begin with, Disneyland and Playboy appeared in the mid-1950s as Americans were settling into postwar affluence and consumerism. Disney and Hefner each recognized the changes occurring within society and intended to design areas of reprieve. As such, Disneyland and Playboy were designed as areas of refuge where one could escape the stifling conformity of middle-class America and simultaneously forget Cold War fears. Instead, Disneyland and Playboy embraced the consensus and became reflections of society and culture rather than operatives of counter-culture. To understand how each company could fail in its original intent but remain as an emblem of American culture, it is necessary to understand the era, the men behind the visions, and how each company absorbed and reacted to cultural attitudes and strains. Disney and Hefner manipulated their way into the American cultural consciousness through a series of ironies and inconsistencies. Each sought to provide a haven of diversity as an alternative to the consensus conformity rampant within 1950s society. Ultimately, Disneyland and Playboy came to represent the homogeneity Disney and Hefner sought to escape. / Graduation date: 2002

This diploma thesis deals with an analysis and comparison of dramatizations of The Wind in the Willows by Kenneth Grahame, a book which ranks among the British children's classics. The paper examines to what extent the dramatizations correspond to the book, whether and why they deviate from the original text, and what consequences these changes have. The thesis focuses on four dramatizations – a play by Alan Alexander Milne called Toad of Toad Hall, Alfa Theatre production of The Wind in the Willows, a Walt Disney short animated film The Adventures of Ichabod and Mr. Toad, and Terry Jones´s adaptation of The Wind in the Willows to a feature film. In the thesis, firstly the book and then the dramatizations are analyzed in terms of the theme and genre, characters, setting, composition and language use. Subsequently, the dramatizations are examined and compared with regards to the transformation processes – selection, condensation, substitution, amplification, and changes in composition and language. In the final chapter, I summarize my findings and draw the conclusion.

Made available in DSpace on 2015-09-17T15:25:57Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-04-07. Added 1 bitstream(s) on 2015-09-17T15:46:20Z : No. of bitstreams: 1 000846836.pdf: 961246 bytes, checksum: 8e48b175763d5b8a1adf21b5431303a3 (MD5) / Os contos populares têm por natureza a capacidade de se propagarem no tempo e no espaço. Desde as épocas mais remotas as civilizações mais distantes compartilhavam as mesmas histórias com algumas modificações que geralmente diziam respeito ao contexto em que viviam. Com base no princípio de que esses contos tendem a se perpetuar na história, estudaremos quatro versões do conto que hoje é conhecido como A bela adormecida, são elas: Sol, Lua e Tália, de Giambattista Basile; A bela adormecida no bosque, de Charles Perrault; A bela adormecida, dos irmãos Grimm; e, por fim, sua adaptação cinematográfica, A bela adormecida, de Walt Disney. Para tal, propõe-se um panorama histórico do gênero conto (especialmente do conto maravilhoso) e também do cinema de animação, pois acredita-se que o contexto histórico foi determinante para a concepção das obras. São feitos também apontamentos teóricos sobre as duas linguagens, ressaltando os aspectos que contribuirão para a análise das narrativas literárias e fílmica. Pretende-se, portanto, evidenciar as mudanças ocorridas no decorrer das diversas publicações em relação às instâncias narrativas, ao enredo e também quanto à tradução das obras literárias para a narrativa cinematográfica / Los cuentos populares se difunden en el tiempo y en el espacio. Desde los tiempos más remotos, las civilizaciones más distantes comparten las mismas historias con algunas modificaciones que generalmente dicen respecto al contexto en que vivían. Fundamentado en el principio de que estos cuentos tienden a perpetuarse en la historia, estudiaremos cuatro versiones actualmente conocidas como La Bella Durmiente, siendo ellas: Sol, Luna y Talia, de Giambattista Basile; La bella durmiente en el bosque, de Charles Perrault; La Bella Durmiente, de los hermanos Grimm; y, finalmente, la adaptación al cine, La Bella Durmiente, de Walt Disney. Para este fin, proponemos un panorama histórico sobre el género cuento (en especial el cuento maravilloso) y también sobre el cine de animación, una vez que el contexto histórico fue fundamental para la concepción de las obras. También haremos apuntes teóricos sobre los dos lenguajes, destacándose los aspectos que contribuirán para el análisis de las narrativas. Con eso, pretendemos demostrar los cambios relativos a las instancias narrativas literarias y fílmica, al enredo y también a aquellos ocurridos en la traducción de las obras literarias para la narrativa cinematográfica