document_title: Alice in Wonderland (2010 film)

question_text: who plays queen of hearts in alice and wonderland

text: Alice in Wonderland (2010 film)

text: Plot[edit]

text: Troubled by a strange recurring dream and mourning the loss of her father, 19-year-old Alice Kingsleigh attends a garden party at Lord Ascot's estate. There, she is confronted by an unwanted marriage proposal to Lord Ascot's son, Hamish, and the stifling expectations of the society in which she lives. Unsure of how to proceed, she pursues a rabbit wearing a blue waistcoat and accidentally falls into a large rabbit hole under a tree. She emerges in a forest where she is greeted by the White Rabbit, the Dormouse, the Dodo, the Talking Flowers, and Tweedledum and Tweedledee. They argue over whether Alice is "the right Alice" who must slay the Red Queen's Jabberwocky and restore the White Queen to power, as foretold by Absolem the Caterpillar and his prophetic scroll. The group is then ambushed by the Bandersnatch and a group of playing-card soldiers led by the Knave of Hearts. Alice, Tweedledum and Tweedledee escape into the woods. The Knave steals the Caterpillar's scroll. The Dormouse leaves the others behind with one of the Bandersnatch's eyes in her possession. Tweedledum and Tweedledee are then captured by the Red Queen's Jubjub bird.

text: The Knave informs the Red Queen that Alice threatens her reign, and the soldiers and Bayard the Bloodhound are ordered to find Alice immediately. Meanwhile, the Cheshire Cat guides Alice to the March Hare and the Mad Hatter. The Hatter helps Alice avoid capture by allowing himself to be seized instead. Later, Alice is found by the Bloodhound, but Alice insists upon helping the Hatter. At the Red Queen's citadel and palace, the Red Queen is unaware of Alice's true identity and therefore welcomes her as a guest. Alice learns that the vorpal sword, the only weapon capable of killing the Jabberwocky, is locked inside the den of the Bandersnatch. The Knave attempts to seduce Alice, but she rebuffs him, causing a jealous Red Queen to order that Alice be beheaded. Alice obtains the sword and befriends the Bandersnatch by returning its eye. She then escapes on the back of the grateful Bandersnatch and delivers the sword to the White Queen. The Cheshire Cat saves the Hatter from the executioner, and the Hatter calls for rebellion against the Red Queen. The rebellion is quickly put down by the Jubjub bird, but the resistance flees to the White Queen's castle, and both armies prepare for battle. Absolem advises Alice to fight the Jabberwocky just before completing his transformation into a pupa.

text: On the appointed day, the White Queen and the Red Queen gather their armies on a chessboard-like battlefield and send Alice and the Jabberwocky to decide the battle in single combat. Encouraged by the advice of her late father, Alice fights the Jabberwocky among the ruins surrounding the battlefield and finally jumps from the remains of a spiral staircase onto the Jabberwocky's neck and beheads it. During this fight, a catapult stone kills the Jubjub bird. As punishment for their crimes, the White Queen banishes the Red Queen and the Knave into exile together. The Knave attempts to kill the Red Queen, yet the Hatter protects the Red Queen from his attack. After the Hatter performs a celebration dance called Futterwacken, the White Queen gives Alice a vial of the Jabberwocky's purple blood whose power will bring her whatever she wishes. She decides to rejoin the everyday world after saying farewell to her friends. Back in England, Lord Ascot takes Alice as his apprentice with the idea of establishing oceanic trade routes to Hong Kong. As the story closes, Alice prepares to set off on a trading ship. A light-blue butterfly with dark vein markings lands on her shoulder, and Alice recognizes him as Absolem.

text: Cast[edit]

text:
Mia Wasikowska as Alice Kingsleigh. When creating the character, screenwriter Linda Woolverton researched how young women were expected to behave in the Victorian era and then made her the opposite.[7] Wasikowska read Carroll's books as a child and re-read them to prepare for her role. She also watched Jan Švankmajer's Alice. She said, "When we were kids, my mum would pop it in the VCR player. We would be disturbed, and wouldn't really understand it, but we couldn't look away because it was too intriguing. So I had kept that feeling about Alice, a kind of haunting feeling."[8] Although facing pressures to conform to society's expectations, Alice grows into a stronger-willed and empowered heroine who chooses her own path; Independent columnist Liz Hoggard praised Alice as a role model for girls, describing the character as "stubborn, brave, [and] non-girlie".[7][9] Mairi Ella Challen portrayed Alice as a six-year-old girl.[10]
Johnny Depp as Tarrant Hightopp, The Mad Hatter.[11] Wasikowska said that the characters, "both feel like outsiders and feel alone in their separate worlds, and have a special bond and friendship."[12][13] Burton explained that Depp "tried to find a grounding to the character … as opposed to just being mad."[14] Burton also said that, "In a lot of versions it's a very one-note kind of character and you know [Depp's] goal was to try and bring out a human side to the strangeness of the character."[14] The orange hair is an allusion to the mercury poisoning suffered by hatters who used mercury to cure felt; Depp believes that the character "was poisoned … and it was coming out through his hair, through his fingernails and eyes".[15] Depp and Burton decided that the Hatter's clothes, skin, hair, personality and accent would change throughout the film to reflect his emotions.[16] In an interview with Depp, the character was paralleled to "a mood ring, [as] his emotions are very close to the surface".[17] The Hatter is "made up of different people and their extreme sides", with a gentle voice much like the character's creator Lewis Carroll reflecting the lighter personality and with a Scottish Glaswegian accent (which Depp modeled after Gregor Fisher's Rab C. Nesbitt character) reflecting a darker, more dangerous personality.[18] Illusionary dancer David "Elsewhere" Bernal doubled for Depp during the "Futterwacken" sequence near the end of the film.[19]
Helena Bonham Carter as Iracebeth of Crims, the Red Queen. She is an amalgamation of two Carroll characters: the Red Queen and the Queen of Hearts.[11] Her first name is a play on the word irascible because she is easily irritated, obstreperous, impatient, and quick to anger.[20] Bonham Carter's head was digitally increased to three times its original size on screen.[21][22] The character hates animals, and chooses to use them as servants and furniture.[23] It is implied that the Red Queen beheaded her former husband, the King. The actress took inspiration from her young daughter Nell, a toddler, stating that, "The Red Queen is just like a toddler, because she's got a big head and she's a tyrant."
Anne Hathaway as Mirana of Marmoreal, the White Queen.[11] She was one of few characters that did not require digital manipulation.[24] Hathaway summed up her character with a caption on a magnet of Happy Bunny holding a knife; "Cute but psycho. Things even out."[25] According to Hathaway, "She comes from the same gene pool as the Red Queen. She really likes the dark side, but she's so scared of going too far into it that she's made everything appear very light and happy. But she's living in that place out of fear that she won't be able to control herself."[26] Hathaway described her interpretation of the White Queen as "a punk-rock vegan pacifist", with inspiration drawn from Debbie Harry, Greta Garbo, and the artwork of Dan Flavin.[26] Burton said that the White Queen's appearance was inspired by Nigella Lawson.[27]
Crispin Glover played Ilosovic Stayne, the Knave of Hearts.[11] The Knave of Hearts is arrogant and tricky. While he follows the Red Queen's every order, he is the only one capable of calming her dramatic mood swings. Glover said, "The Red Queen has a fair amount of short-tempered reactions to things that people do, and so [the Knave] has to be quite diplomatic." The Red Queen believes that the Knave of Hearts is her lover, but this proves to be false.
Matt Lucas portrayed both Tweedledee and Tweedledum. Burton commented on the mixture of animation and Lucas, saying that "It's a weird mixture of things which gives his characters the disturbing quality that they so richly deserve."[28] The characters are portrayed through a combination of CGI and live-action, with Lucas's face digitally composited to a full animated body. While performing the character, Lucas had to wear a teardrop-shaped motion capture suit and walk on stilts. In order to play both characters, Lucas was doubled by Ethan Cohn.
Frances de la Tour as Imogene, Alice's aunt.[29] She is suffering from severe delusions and is constantly awaiting her fictional fiancé whom she believes to be a prince.
Leo Bill as Hamish Ascot, Alice's would-be fiancé.[29]

text: Marton Csokas makes a cameo appearance as Alice's deceased father in the film's opening scene and Alice's mother is played by Lindsay Duncan. Lord and Lady Ascot are played by Tim Pigott-Smith and Geraldine James, respectively. Eleanor Tomlinson and Eleanor Gecks play the Cathaway sisters, who bear a strong resemblance to Tweedledum and Tweedledee. Jemma Powell appears briefly as Alice's sister, Margaret, while Margaret's unfaithful husband Lowell is played by John Hopkins.

text: Voice cast[edit]

text:
Michael Sheen voiced Nivens McTwisp, the White Rabbit.[11][30] Sheen said the character "is such an iconic character that [he] didn't feel like [he] should break the mold too much."[31] Burton said the quality he wanted most in his clock-watching bunny was a twitchiness, also commenting that "[in] any incarnation of the [White Rabbit] through the years, there's that sort of nervousness of a rabbit."[31]
Alan Rickman voiced Absolem, the Caterpillar.[11] Rickman was originally going to have his face composited onto the animated Caterpillar. He was filmed recording his voice in the studio, but the idea was eventually scrapped. The animators did, however, try to give Absolem's face characteristics similar to Rickman's.[22]
Stephen Fry voiced Chess, the Cheshire Cat.[11][32] Burton stated that the character had a creepy quality in addition to tapping into his own hatred of cats.[33][34] The role was intended to be played by Michael Sheen but he changed his role to the White Rabbit due to scheduling conflicts.
Barbara Windsor voiced Mallymkun, the Dormouse.[11] Burton said that he sought after Windsor for the role because he was a fan of her TV show EastEnders. Her voice sealed the deal for her role as the character.[35]
Timothy Spall voiced Bayard, the Bloodhound. Although Bayard does not appear in the book, a similar character named The Puppy is likely the inspiration for the character.
Paul Whitehouse voiced Thackery Earwicket, the March Hare.[11] Burton stated that because Whitehouse is a great comedic actor, a lot of his lines came from improvisation.[36]
Michael Gough voiced Uilleam, the Dodo.[11] Burton said that Gough was the first person he thought of for the role of the Dodo because he has "a full life quality to his voice".[37] The character only speaks three lines, that Gough recorded in a day. This would be Gough's final acting role; he died a year after its release, aged 94. Gough had previously portrayed the March Hare in the 1966 TV play of the book.
Christopher Lee voiced the Jabberwock. While it only had two lines, Burton said that he felt Lee to be a good match for the iconic character because he is "an iconic guy".[38] For the character, Lee had originally tried to make his voice "burble" (as described in the poem "Jabberwocky"). However, Burton convinced him to use his actual voice, as he found it more intimidating and aggressive.
Imelda Staunton voiced the Tall Flower Faces. Though there are many flowers that appear around Underland, only one of them speaks and one of them is clearly a caricature of Staunton.[39] Staunton only speaks three lines that are heard very briefly at the beginning of the film.
Jim Carter voiced the Red Queen's executioner. The Executioner only speaks one line and appears extremely briefly, though Carter also voiced several other servants to the Red Queen.

text: Frank Welker provided additional voices and vocal effects; including roars of the Jabberwocky and Bandersnatch, squawks for the Jubjub bird, and Bayard barking.[39] Rickman, Windsor, Fry, Gough, Lee, Staunton and Carter each took only a day to record their dialogue.[39]

text: Burton and Bonham Carter's children Billy and Nell made cameo appearances as a boy and baby at the dock in the end of the film.

text: Production[edit]

text: Tim Burton signed with Walt Disney Pictures to direct two films in Disney Digital 3D, which included Alice in Wonderland[40] and his remake of Frankenweenie. Burton developed the story because he never felt an emotional tie to the original book.[41]

text: He explained "the goal is to try to make it an engaging movie where you get some of the psychology and kind of bring a freshness but also keep the classic nature of Alice." On prior versions, Burton said "It was always a girl wandering around from one crazy character to another, and I never really felt any real emotional connection." His goal with the new film is to give the story "some framework of emotional grounding" and "to try and make Alice feel more like a story as opposed to a series of events."[14] Burton focused on the poem "Jabberwocky" as part of his structure,[42] and refers to the described creature by the name of the poem rather than by the name "Jabberwock" used in the poem. Burton also stated that he does not see his version as either a sequel to any existing Alice film nor as a "re-imagining".[41] However, the idea of the climax of the story being Alice's battle with the Queen's champion, the Jabberwocky, was first added in the video game American McGee's Alice, and the landscape, tower, weapons and appearance of Alice in those scenes of the film are very reminiscent of the same scenes in the game.

text:
We wanted somebody who had… it's hard to put into words, but just had a gravity to her, an internal life, something that you could see the wheels turning. It's just a simple kind of power to her that we really liked. Not flamboyant, not very showy, but just somebody that's got a lot of internal life to her. That's why I picked her.

—Burton on casting Mia Wasikowska as Alice[43]

tag: table

text: This film was originally set to be released in 2009 but was pushed back to March 5, 2010.[44] Principal photography was scheduled for May 2008, but did not begin until September and concluded in three months.[40][45] Scenes set in the Victorian era were shot at Torpoint and Plymouth from September 1 to October 14 (Mia Wasikowska's birthday). Two hundred and fifty local extras were chosen in early August. Locations included Antony House in Torpoint, Charlestown, Cornwall and the Barbican,[46][47] however, no footage from the Barbican was used. Motion capture filming began in early October at Sony Pictures Studios in Culver City, California, though the footage was later discarded.[48][49][50] Filming also took place at Culver Studios.[51] Burton said that he used a combination of live action and animation, without motion capture.[52] He also noted that this was the first time he had filmed on a green screen.[52] Filming of the green screen portions, comprising 90% of the film, was completed after only 40 days.[53] Many of the cast and crew felt nauseated as a result of the long hours surrounded by green, and Burton had lavender lenses fitted into his glasses to counteract the effect.[53] Due to the constant need for digital effects to distort the actors' physical appearances, such as the size of the Red Queen's head or Alice's height, visual effects supervisor Ken Ralston cited the film as being exhausting, saying it was "The biggest show I've ever done, [and] the most creatively involved I've ever been."[54]

text: Sony Pictures Imageworks designed the visual effects sequences.[55] Burton felt 3D was appropriate to the story's environment.[13] Burton and Zanuck chose to film with conventional cameras, and convert the footage into 3D during post-production; Zanuck explained 3D cameras were too expensive and "clumsy" to use, and they felt that there was no difference between converted footage and those shot in the format.[56] James Cameron, who released his 3D film Avatar in December 2009, criticized the choice, stating, "It doesn't make any sense to shoot in 2-D and convert to 3-D".[57]

text: Music[edit]

text: Score[edit]

text:
Alice in Wonderland: An Original Walt Disney Records Soundtrack

Film score by Danny Elfman

Released
March 2, 2010

Genre
Orchestral, Classical, Pop

Length
50:59

Label
Walt Disney

text: Longtime Burton collaborator Danny Elfman's score was released March 2, 2010.[58] It debuted at #89 on the Billboard Top 200 albums chart.[59]

text: Almost Alice[edit]

text: Almost Alice is a collection of various artists' music inspired by the film.[58][60][61] The lead single, "Alice" by Avril Lavigne, premiered on January 27, 2010 on Ryan Seacrest's radio program. Other singles include "Follow Me Down" by 3OH!3, "Her Name Is Alice" by Shinedown, and "Tea Party" by Kerli.[62] The album was released on March 2, 2010.[58]

text: Release[edit]

text: On February 12, 2010, major UK cinema chains, Odeon, Vue, and Cineworld, had planned to boycott the film because of a reduction of the interval between cinema and DVD release from the usual 17 weeks to 12 (possibly to avoid the release of the DVD clashing with the 2010 FIFA World Cup, which was Disney's pretext for cutting short Alice's theatrical run but UK exhibitors protested that Alice would be less threatened by the World Cup than other titles).[63] A week after the announcement, Cineworld, who has a 24% share of UK box office, chose to play the film on more than 150 screens. Cineworld's chief executive Steve Wiener stated, "As leaders in 3D, we did not want the public to miss out on such a visual spectacle. As the success of Avatar has shown, there is currently a huge appetite for the 3D experience".[64] Shortly after, the Vue cinema chain also reached an agreement with Disney, but Odeon had still chosen to boycott in Britain, Ireland, and Italy.[65] On February 25, 2010 Odeon had reached an agreement and decided to show the film on March 5, 2010.[66] The Royal premiere took place at the Odeon Leicester Square in London on February 25, 2010 for the fundraiser The Prince's Foundation for Children and The Arts where the Prince of Wales and the Duchess of Cornwall attended. It also did not affect their plans to show the film in Spain, Germany, Portugal, and Austria.[65][67][68] The film was released in the U.S. and UK, in both Disney Digital 3D and IMAX 3D,[45] as well as regular theaters on March 5, 2010.[69]

text: Marketing[edit]

text: On June 22, 2009, the first pictures of the film were released, showing Depp as the Mad Hatter, Hathaway as the White Queen, Bonham Carter as the Red Queen and Lucas as Tweedledee and Tweedledum.[45] A new image of Alice was also released.[70] In July, new photos emerged of Alice holding a white rabbit, the Mad Hatter with a hare, the Red Queen holding a pig, and the White Queen with a mouse.[71]

text: On July 22, 2009, a teaser trailer from the Mad Hatter's point of view was released on IGN but was shortly taken down because Disney claimed that the trailer was not supposed to be out yet. The teaser was also planned to premiere along with a trailer of Robert Zemeckis' film adaptation of A Christmas Carol on July 24, 2009 for G-Force. The following day, the teaser trailer premiered at Comic-Con but the trailer shown was different from the one that leaked. The ComicCon version didn't have the Mad Hatter's dialogue. Instead, it featured "Time to Pretend" by MGMT, and the clips shown were in different order than in the leaked version. The leaked version was originally to be shown to one of the three Facebook groups used to promote the film that had the most members. The groups used to promote the film are "The Loyal Subjects of the Red Queen", "The Loyal Subjects of the White Queen" and "The Disloyal Subjects of the Mad Hatter".[72]

text: Also at ComicCon, props from the film were displayed in an "Alice in Wonderland" exhibit. Costumes featured in the exhibit included the Red Queen's dress, chair, wig, spectacles, and scepter; the White Queen's dress, wig and a small model of her castle; the Mad Hatter's suit, hat, wig, chair and table; Alice's dress and battle armor (to slay the Jabberwocky). Other props included the "DRINK ME" bottles, the keys, an "EAT ME" pastry and stand-in models of the White Rabbit and March Hare.[73]

text: A nighttime party area at the Disney California Adventure theme park was created, called "Mad T Party".

text: Video games[edit]

text: On July 23, 2009, Disney Interactive Studios announced that an Alice in Wonderland video game, developed by French game studio Étranges Libellules, would be released in the same week as the film for the Wii, Nintendo DS, and Microsoft Windows. The soundtrack was composed by video games music composer Richard Jacques.[74] The Wii, DS, and PC versions were released on March 2, 2010.

text: Disney Interactive released in 2013 the game Alice in Wonderland: A New Champion for iOS.[75]

text: Home media[edit]

text: Walt Disney Studios Home Entertainment released a three-disc Blu-ray combo pack (which includes the Blu-ray, DVD and a digital copy), single-disc Blu-ray and single-disc DVD on June 1, 2010 in the US and July 1, 2010 in Australia.[76] The DVD release includes three short features about the making of the film, focusing on Burton's vision for Wonderland and the characters of Alice and the Mad Hatter. The Blu-ray version has nine additional featurettes centered on additional characters, special effects and other aspects of the film's production.[77] In some confusion, a small number of copies were put on shelves a week before schedule in smaller stores, but were quickly removed, although a handful of copies were confirmed purchased ahead of schedule.

text: In its first week of release (June 1–6, 2010), it sold 2,095,878 DVD units (equivalent to $35,441,297) and topped the DVD sales chart for two continuous weeks. By May 22, 2011, it had sold 4,313,680 units ($76,413,043). It failed to crack the 2010 top ten DVDs list in terms of units sold, but reached 10th place on that chart in terms of sales revenue.[78][79]

text: Reception[edit]

text: Box office[edit]

text: Alice in Wonderland has grossed $334,191,110 in North America and $691,276,000 in other territories for a worldwide total of $1,025,467,110 against a budget of $200 million.[5][80][81] Worldwide, it is currently the thirtieth-highest-grossing film[82] and the second-highest-grossing 2010 film.[83] It is the third-highest-grossing film starring Johnny Depp,[84] the highest-grossing film directed by Tim Burton.[85] The second-highest-grossing film of Anne Hathaway and the second-highest-grossing children's book adaptation (worldwide, as well as in North America and outside North America separately).[86]

text: On its first weekend, the film made $220.1 million worldwide, marking the second-largest opening ever for a movie not released during the summer or the holiday period (behind The Hunger Games), the fourth-largest for a Disney-distributed film and the fourth-largest among 2010 films.[87] It dominated for three consecutive weekends at the worldwide box office.[88][89][90][91] On May 26, 2010, its 85th day of release, it became the sixth film ever to surpass the $1 billion mark and the second film that had been released by Walt Disney Studios that did so.[92][93]

text: In the United States and Canada Alice in Wonderland is the forty-fourth-highest-grossing film but out of the top 100 when adjusted for inflation. It is also the second-highest-grossing 2010 film, behind Toy Story 3,[94] the second-highest-grossing film starring Johnny Depp[84] and the highest-grossing film directed by Tim Burton.[85] The film opened on March 5, 2010, on approximately 7,400 screens at 3,728 theaters with $40,804,962 during its first day, $3.9 million of which came from midnight showings,[95] ranking number one and setting a new March opening-day record.[96] Alice earned $116.1 million on its opening weekend, breaking the record for the largest opening weekend in March (previously held by 300),[97] the record for the largest opening weekend during springtime (previously held by Fast and Furious), the largest opening weekend for a non-sequel (previously held by Spider-Man)[98] and the highest one for the non-holiday, non-summer period. However, all of these records were broken by The Hunger Games ($152.5 million) in March 2012.[99][100] Alice made the seventeenth-highest-grossing opening weekend ever[101] and the fifth-largest among 3D films.[102] Opening-weekend grosses originating from 3D showings were $81.3 million (70% of total weekend gross). This broke the record for the largest opening-weekend 3D grosses[103][104] but it was later topped by Marvel's The Avengers ($108 million).[105] It had the largest weekend per-theater average of 2010 ($31,143 per theater) and the largest for a PG-rated film.[106] It broke the IMAX opening-weekend record[107] by earning $12.2 million on 188 IMAX screens, with an average of $64,197 per site. The record was first overtaken by Deathly Hallows – Part 2 ($15.2 million).[104] Alice remained in first place for three consecutive weekends at the North American box office.[108][109] Alice closed in theaters on July 8, 2010 with $334.2 million.

text: Outside North America, Alice is the thirteenth-highest-grossing film,[110] the highest-grossing 2010 film,[111] the fourth-highest-grossing Disney film, the second-highest-grossing film starring Johnny Depp[84] and the highest-grossing film directed by Tim Burton.[85] It began with an estimated $94 million, on top of the weekend box office, and remained at the summit for four consecutive weekends and five in total.[112][113] Japan was the film's highest-grossing country after North America, with $133.7 million, followed by the UK, Ireland and Malta ($64.4 million), and France and the Maghreb region ($45.9 million).[114]

text: Critical reaction[edit]

text: Review aggregate Rotten Tomatoes reports that 52% of critics have given the film a positive review based on 265 reviews; the average score is 5.7/10. The consensus is: "Tim Burton's Alice sacrifices the book's minimal narrative coherence—and much of its heart—but it's an undeniable visual treat".[115] Metacritic rated it 53/100 based on 38 reviews.[116]

text: Todd McCarthy of Variety praised it for its "moments of delight, humor and bedazzlement", but went on to say, "But it also becomes more ordinary as it goes along, building to a generic battle climax similar to any number of others in CGI-heavy movies of the past few years".[117] Michael Rechtshaffen of The Hollywood Reporter said "Burton has delivered a subversively witty, brilliantly cast, whimsically appointed dazzler that also manages to hit all the emotionally satisfying marks", while as well praising its computer-generated imagery (CGI), saying "Ultimately, it's the visual landscape that makes Alice's newest adventure so wondrous, as technology has finally been able to catch up with Burton's endlessly fertile imagination."[118] Owen Gleiberman of Entertainment Weekly said, "But Burton's Disneyfied 3-D Alice in Wonderland, written by the girl-power specialist Linda Woolverton, is a strange brew indeed: murky, diffuse, and meandering, set not in a Wonderland that pops with demented life but in a world called Underland that's like a joyless, bombed-out version of Wonderland. It looks like a CGI head trip gone post apocalyptic. In the film's rather humdrum 3-D, the place doesn't dazzle—it droops."[119] Roger Ebert of the Chicago Sun-Times awarded the film three out of four stars and wrote in his review that, "Alice plays better as an adult hallucination, which is how Burton rather brilliantly interprets it until a pointless third act flies off the rails."[120] The market research firm CinemaScore found that audiences gave the film an average rating of "A-".[121]

text: Several reviews criticized the decision to turn Alice into a "colonialist entrepreneur" at the end of the film setting sail for China.[122][123][124] Given Britain's role in the First and Second Opium Wars during the Victorian era and the foreign domination of China through "unequal treaties", China expert Kevin Slaten writes, "Not only is it troubling imagery, for a female role model in a Disney movie, but it's also a celebration of the exploitation that China suffered for a century."[125]

text: Game developer American McGee, best known for creating Alice and Alice: Madness Returns, was asked in a 2011 interview about Tim Burton's interpretation of the title character since both versions share almost similar dark and twisted tone of Wonderland. McGee praised the film's visuals and audio but criticized the lack of screen time Alice had compared to the other characters. He felt Alice did not have any purpose in the story and that she was merely used as a "tool".[126]

text: Accolades[edit]

text:
Award
Category
Recipient
Result

83rd Academy Awards[127]
Best Art Direction
Robert Stromberg
Karen O'Hara
Won

Best Visual Effects
Ken Ralston
David Schaub
Carey Villegas
Sean Phillips
Nominated

Best Costume Design
Colleen Atwood
Won

64th British Academy Film Awards[128]
Best Costume Design
Won

Best Film Music
Danny Elfman
Nominated

Best Production Design
Robert Stromberg
Karen O’Hara
Nominated

Best Special Visual Effects
Ken Ralston
David Schaub
Carey Villegas
Sean Phillips
Nominated

Best Makeup and Hair

Won

68th Golden Globe Awards[129]
Best Motion Picture – Musical or Comedy

Nominated

Best Actor – Motion Picture Musical or Comedy
Johnny Depp
Nominated

Best Original Score
Danny Elfman
Nominated

53rd Grammy Awards
Best Score Soundtrack Album For Motion Picture, Television Or Other Visual Media
Nominated

9th Annual Visual Effects Society Awards (VES Awards)[130]
Outstanding Visual Effects in a Visual Effects-Driven Feature Motion Picture
Ken Ralston
Carey Villegas
David Schaub
Tom Peitzman
Nominated

Outstanding Compositing in a Feature Motion Picture (Stolen Tarts)
Lisa Deaner
Orde Stevanoski
Aaron Kupferman
Ruben Flores
Nominated

15th Annual Satellite Awards[131]
Best Visual Effects
Ken Ralston
Carey Villegas
David Schaub
Sean Phillips
Won

Best Costume Design
Colleen Atwood
Won

Best Art Direction & Production Design
Robert Stromberg
Stefan Dechant
Nominated

Best Motion Picture, Animated or Mixed Media

Nominated

Best Original Song
Avril Lavigne
Nominated

37th Saturn Awards
Best Fantasy Film

Won

Best Costume

Won

Best Make-Up

Nominated

Best Production Design

Nominated

Best Special Effects
Ken Ralston
Carey Villegas
David Schaub
Tom Peitzman
Nominated

Broadcast Film Critics Association Awards
Best Costume Design
Colleen Atwood
Won

Best Makeup
Jaremy Aiello
Won

Best Visual Effects
Ken Ralston
Carey Villegas
David Schaub
Tom Peitzman
Nominated

Best Art Direction
Robert Stromberg
Karen O'Hara
Nominated

2011 Kids' Choice Awards[132]
Favorite Movie

Nominated

Favorite Movie Actor
Johnny Depp
Won

MTV Movie Awards
Global Superstar
Nominated

Best Movie

Nominated

Best Villain
Helena Bonham Carter
Nominated

National Movie Awards
Best Performance
Nominated

Johnny Depp
Nominated

Best Fantasy

Nominated

People's Choice Awards[133]
Favorite Movie
Nominated

Favorite Drama Movie
Nominated

Teen Choice Awards
Choice Movie: Fantasy
Nominated

Choice Movie Actor: Fantasy
Johnny Depp
Nominated

Choice Movie: Female Scene Stealer
Anne Hathaway
Nominated

Choice Movie Actress: Fantasy
Mia Wasikowska
Nominated

Choice Movie: Female Breakout Star
Nominated

Choice Movie: Fight
Mia Wasikowska vs. The Jabberwock
Won

2010 Scream Awards
Ultimate Scream

Nominated

Best Fantasy Movie

Nominated

Best Director
Tim Burton
Nominated

Best Fantasy Actress
Mia Wasikowska
Nominated

Best Breakout Performance – Female
Nominated

Best Fantasy Actor
Johnny Depp
Nominated

Best Supporting Actress
Anne Hathaway
Won

3-D Top Three

Nominated

AD First Half of the Year Awards[134]
Best Art Direction

Nominated

Best Visual Effects
Won

Best Make Up
Nominated

MTV Fan Music Awards
Best Movie Song
Avril Lavigne
Won

ChartAttack's 16th Annual Year-End Readers' Poll
Best Song
Avril Lavigne
Won

text: Legacy[edit]

text: After the release and success of the movie, Walt Disney Pictures has announced the development of several live-action adaptations of their Animated Classics series.[135][136] Maleficent, Cinderella, The Jungle Book, and Beauty and the Beast have followed to similar box-office results with the latter three also earning critical praise. Disney has also announced the development of live-action adaptations of Christopher Robin,[137] Dumbo,[138] Aladdin,[139] The Lion King,[140] Mulan,[141] Pinocchio,[142] Fantasia,[143] The Sword in the Stone,[144] The Black Cauldron,[145] Peter Pan,[146] The Little Mermaid,[147] Snow White and the Seven Dwarfs,[148] and Lady and the Tramp.[149] The company also has plans for live-action spin-offs of One Hundred and One Dalmatians, Snow White and the Seven Dwarfs, and Peter Pan along with a live-action prequel to Aladdin.[150][151][152][153]

text: Stage adaptation Walt Disney Theatrical is in early talks with Burton and screenwriter Linda Woolverton to develop the property as a Broadway musical. Woolverton authored the screenplay for Disney's The Lion King and is also the Tony Award-nominated book writer of Beauty and the Beast, Aida, and Lestat. Burton will also render the overall designs for the stage musical. Woolverton will adapt her screenplay for the stage production. Neither a composer nor songwriting team has been chosen yet. Direction and choreography will be done by Rob Ashford.[154][155][156] The musical is aiming to make its world-premiere in London.[157]

text: Sequel[edit]

text: On December 7, 2012, Variety announced the development of a sequel to Alice in Wonderland. Linda Woolverton returned to write a screenplay.[158] On May 31, 2013, James Bobin began talks to direct the sequel under the working title Alice in Wonderland: Into the Looking Glass.[159] Johnny Depp returned as The Hatter, Mia Wasikowska reprised the role of Alice, and Helena Bonham Carter returned as the Red Queen.[160][161][162] Several other cast members from the 2010 film also reprised their roles in the sequel.[163] On November 22, 2013, it was announced that the sequel will be released on May 27, 2016 and that Bobin would direct the film. Rhys Ifans and Sacha Baron Cohen are featured in the film.[161][164][165] On January 21, 2014, the film was again retitled to Alice in Wonderland: Through the Looking Glass.[166] The title was later reworked once again to Alice Through the Looking Glass.


document_title: African empires

question_text: what is the name of one of the african trading empires

root

text: African empires

text: Sahelian kingdoms[edit]

text: The Sahelian kingdoms were a series of medieval empires centred on the sahel, the area of grasslands south of the Sahara.

tag: p

text:
The first major state to rise in this region was the Ghana Empire (Wagadu).  The name Ghana, often used by historians, was the regnal title given to the ruler of the Wagadu empire.[8]  Centered in what is today Senegal and Mauritania, it was the first to benefit from the introduction of gold mining.  Ghana dominated the region between about 750 and 1078.  Smaller states in the region at this time included Takrur to the west, the Malinke kingdom of Mali to the south, and the Songhai Empire  centred on Gao to the east.
When Ghana collapsed in the face of invasion from the Almoravids, a series of brief kingdoms followed, notably that of the Sosso (Susu); after 1235, the Mali Empire rose to dominate the region.  Located on the Niger River to the west of Ghana in what is today Niger and Mali, it reached its peak in the 1350s, but had lost control of a number of vassal states by 1400.
The most powerful of these states was the Songhai Empire, which expanded rapidly beginning with king Sonni Ali in the 1460s. By 1500, it had risen to stretch from Cameroon to the Maghreb, the largest state in African history.  It too was quite short-lived and collapsed in 1591 as a result of Moroccan musketry.
Far to the east, on Lake Chad, the state of Kanem-Bornu, founded as Kanem in the 9th century, now rose to greater preeminence in the central Sahel region. To their west, the loosely united Hausa city-states became dominant.  These two states coexisted uneasily, but were quite stable.
In 1810, the Sokoto Caliphate rose and conquered the Hausa, creating a more centralized state.  It and Kanem-Bornu would continue to exist until the arrival of Europeans, when both states would fall and the region would be divided between France and Great Britain.
Jolof Empire (1350–1889)

tag: ul

text: Empires of 15th–19th century Africa[edit]

text: From the 15th century until the final Scramble for Africa in the late 19th century a number of empires were also established south of the Sahel, especially in West Africa.

text: West Africa[edit]

text:
The West African empires of this period peaked in power in the late 18th century, paralleling the peak of the Atlantic slave trade.
These empires implemented a culture of permanent warfare in order to generate the required numbers of captives required to satisfy the demand for slaves by the European colonies.  With the gradual abolition of slavery in the European colonial empires during the 19th century, slave trade again became less lucrative and the West African empires entered a period of decline, and mostly collapsed by the end of the 19th century.[9]

text:
The Nok Civilization is considered to be one of the most advanced ancient sub-Saharan civilizations in African history. Beginning some time around 1500 BC, it was largely concentrated in what is now Nigeria but produced some of the first sub-Saharan iron smelting and terracotta architecture. Mysteriously died out around 200 AD.
The Kingdom of Nri (1043–1911) was the West African medieval state of the Nri-Igbo, a subgroup of the Igbo people, and is the oldest kingdom in Nigeria. The Kingdom of Nri was unusual in the history of world government in that its leader exercised no military power over his subjects. The kingdom existed as a sphere of religious and political influence over much of Igboland, and was administered by a priest-king called the eze Nri. The eze Nri managed trade and diplomacy on behalf of the Igbo people, and was the possessor of divine authority in religious matters.
The Oyo Empire (1400–1895) was a West African empire of what is today western Nigeria. The empire was established by the Yoruba in the 15th century and grew to become one of the largest West African states. It rose to prominence through wealth gained from trade and its possession of a powerful cavalry. The Oyo Empire was the most politically important state in the region from the mid-17th to the late 18th century, holding sway not only over other Yoruba states, but also over the Fon kingdom of Dahomey (located in the state now known as the Republic of Benin).
Benin Empire (1440–1897), a pre-colonial African state of modern Nigeria.
Kaabu Empire (1537–1867), a Mandinka Kingdom of Senegambia (centered on modern northeastern Guinea-Bissau but extending into Casamance, Senegal) that rose to prominence in the region thanks to its origins as a former province of the Mali Empire. After the decline of the Mali Empire, Kaabu became an independent kingdom.
Aro Confederacy (1690–1902), a trading union orchestrated by the Igbo subgroup, the Aro people, centered in Arochukwu in present-day Southeastern Nigeria.
Bonoman (11th century–19th century), earliest known Akan state.  Gold trading and Kola nut trading with Northern Neighbors brought wealth and prosperity to Akan creators of this state. Culture influenced much of modern Akan culture.
Ashanti Empire (1701–1894), a pre-colonial Akan West African state of what is now the Ashanti Region in Ghana. The empire stretched from central Ghana to present day Togo and Côte d'Ivoire, bordered by the Dagomba kingdom to the north and Dahomey to the east. Today, the Ashanti monarchy continues as one of the constitutionally protected, sub-national traditional states within the Republic of Ghana.
Various states by Akan people (11th century–19th century)
Kong Empire (1710–1898)  centered in north eastern Côte d'Ivoire that also encompassed much of present-day Burkina Faso.
Bamana Empire (1712–1896) based at Ségou, now in Mali.  It was ruled by the Kulubali or Coulibaly dynasty established c. 1640 by Fa Sine also known as Biton-si-u. The empire existed as a centralized state from 1712 to the 1861 invasion of Toucouleur conqueror El Hadj Umar Tall.
Sokoto Caliphate (1804–1903), an Islamic empire in Nigeria, led by the Sultan of Sokoto, Sa’adu Abubakar. Founded during the Fulani Jihad in the early 19th century, it was one of the most powerful empires in sub-Saharan Africa prior to European conquest and colonization. The caliphate remained extant through the colonial period and afterwards, though with reduced power.
Wassoulou Empire (1878–1898), a short-lived empire built from the conquests of Dyula ruler Samori Ture and destroyed by the French colonial army.

text: Great Lakes[edit]

text:
An Empire of Kitara in the area of the African Great Lakes has long been treated as a historical entity, but is now mostly considered an unhistorical narrative created as a response to the dawn of rule under the Lwo empire. The latter is the sole historical record of an organized Nilotic migration into the area.[10]
The Buganda (1300–present), home of the Buganda people of Uganda
The medieval Swahili city-states

text: Congo[edit]

text:
The Kongo Kingdom (1400–1888) was a quasi-imperial state as is evident by the number of people and kingdoms that paid it tribute. If not for the large amount of text written by the EssiKongo that repeatedly called themselves a kingdom, they would be listed as the "Kongo Empire".
The Luba Empire (1585–1885) arose in the marshy grasslands of the Upemba Depression in what is now southern Democratic Republic of Congo.
Lunda Empire (1660–1887) in what is now the Democratic Republic of Congo, north-eastern Angola and northwestern Zambia. Its central state was in Katanga.

text: Southern Africa[edit]

text: The Mutapa Empire or Empire of Great Zimbabwe (1450–1629) was a medieval kingdom located between the Zambezi and Limpopo rivers of Southern Africa in the modern states of Zimbabwe and Mozambique. Remnants of the historical capital are found in the ruins of Great Zimbabwe.

text:
Zulu Kingdom
Maravi Empire or Marawi or Merowi or Merowe/ Meroe Empire. Not to be confused with Ancient Meroe.
Kingdom of Mapungubwe

text: North Africa[edit]

text: Ancient North African Empires[edit]

text: Pre-Islamic empires of North Africa:

text:
Kingdom of Kerma (2500–1500 BC)
Ancient Egypt (3100–650 BC)
Kingdom of Kush (1070–350 AD)
Nobatia (350–650 AD)
Makuria (340–1312 AD)
Alodia (??? AD–1504 AD)
Ancient Carthage (575–146 BC)

text: African Empires[edit]

text:
In Algeria:
Banu Ifran dynasty (830–1040)
Zirid dynasty (947–1090)
Hammadid dynasty (1014–1152)
Almohad caliphate (1145–1244)
In Morocco:
Idrisid dynasty (789–974)
Almoravid dynasty (1061–1145)
Almohad dynasty (1145–1244)
Marinid dynasty (1244–1465)
Wattasid dynasty (1471–1554)
Saadi dynasty (1554-1666)
Alaouite dynasty (1666–present)
In Tunisia:
Fatimid dynasty (Tunisian period) (910–969)
Zirid dynasty (973–1148)
Hafsid dynasty (1229–1574)
In Egypt:
Fatimid dynasty (Egyptian period) (969–1171)
Ayyubid dynasty (1171–1254)
Mamluk dynasty (1250–1517)
In Sudan:
The Sennar Sultanate (1502–1821) was a sultanate in the north of Sudan. It was named Funj after the ethnic group of its dynasty or Sinnar (or Sennar) after its capital, which ruled a substantial area of the Sudan region.

text: Horn of Africa[edit]

text:
Ancient land of Punt (2500 BC)
Ancient Barbara/Barbaroi cities and states mentioned in the  Periplus of the Erythraean Sea (1st century).
Opone/Xāfūn (1000 BC – 5th century AD)
Mundus/Xīs
Mosylon/Bōsāso
Malao/Berbera
Nikon/Būr Gābo
Sarapion/Muqdisho
Kingdom of Aksum (1st century – 9th century)
Kingdom of Bazin (9th century)
Kingdom of Belgin (9th century)
Kingdom of Jarin (9th century)
Kingdom of Qita'a (9th century)
Kingdom of Nagash (9th century)
Kingdom of Tankish (9th century)
Sultanate of Mogadishu (10th century – 16th century)
Ethiopian Empire (1137–1974)
Zagwe dynasty (1137–1270)
Solomonic dynasty (1270–1974)
Sultanate of Ifat (1285–1415)
Warsangali Sultanate (1298–1960)
Ajuran Sultanate (1300s–1700s)
Adal Sultanate (1415–1555)
Sultanate of Harar (1526–1577)
Emirate of Harar (1647–1887)
Sultanate of the Geledi (late 17th century – late 19th century)
Majeerteen Sultanate (mid-18th century – early 20th century)
Sultanate of Aussa (1734–present)
Kingdom of Gomma (early 1800s–1886)
Kingdom of Jimma (1830–1932)
Kingdom of Gumma (1840–1902)
Sultanate of Hobyo (1880s–1920s)
Dervish state (1896–1920)

text: Comparison[edit]

text: Vansina (1962) discusses the classification of Sub-Saharan African kingdoms, mostly of Central, South and East Africa, with some additional data on West African (Sahelian) kingdoms distinguishing five types, by decreasing centralization of power:

text:
Despotic kingdoms: Kingdoms where the king controls the internal and external affairs directly. Examples are Ruanda, Nkore, Soga and Kongo in the 16th century
Regal kingdoms: Kingdoms where the king controls the external affairs directly, and the internal affairs via a system of overseers. The king and his chiefs belong to the same clans or lineages.
Incorporative kingdoms: Kingdoms where the king only controls only the external affairs with no permanent administrative links between him and the chiefs of the provinces. The hereditary chiefdoms of the provinces were left undisturbed after conquest. Examples are the Bamileke, Lunda, Luba, Lozi.
Aristocratic kingdoms: The only link between central authority and the provinces is payment of tribute. These kingdoms are morphologically intermediate between regal kingdoms and federations. This type is rather common in Africa, examples including the Kongo of the 17th century, the Cazembe, Luapula, Kuba, Ngonde, Mlanje, Ha, Zinza and Chagga states of the 18th century
Federations: Kingdoms (such as the Ashanti Union) where the external affairs are regulated by a council of elders headed by the king, who is simply primus inter pares.

tag: ol

text: Sources[edit]

text:
Hunwick, John O. (2003). Timbuktu and the Songhay Empire: Al-Saʻdī's Taʼrīkh al-sūdān Down to 1613 and other Contemporary Documents. Leiden: Brill Academic Publishers. pp. 488 Pages. ISBN 90-04-12822-0.
J. Vansina, A Comparison of African Kingdoms, Africa: Journal of the International African Institute (1962), pp. 324–335.
Turchin, Peter and Jonathan M. Adams and Thomas D. Hall: "East-West Orientation of Historical Empires and Modern States",  Journal of World-Systems Research, Vol. XII, No. II, 2006


document_title: Super Dave Osborne

question_text: where did super dave osborne get his start

text: Super Dave Osborne

text: Character sketch[edit]

text: Super Dave is billed as an "accomplished" stuntman, though he rarely succeeds when performing the stunts depicted on-screen. Typically the character will perform outrageous daredevil stunts which often go disastrously awry and result in the appearance of grievous bodily injury. These include such mishaps as riding inside the hub of a giant yo-yo suspended from a crane (the yo-yo broke free of its string and rolled off a cliff into a ravine) and being flung by a catapult inside a giant football (the catapult malfunctioned and "spiked" the football instead of throwing it). After such a mishap, Super Dave would usually appear torn apart, stretched, or otherwise injured.

text: His signature logo, a drawing of his head in a crash helmet directly atop a pair of shoes with no visible body, was from his most iconic and early sketch "Balloon Ball". The "stunt" consisted of his standing in a hole in the ground reciting "balloon ball" as a repetitive mantra which was supposed to imbue him with the ability to not be harmed by anything, as a mobile piledriver rammed the top of his head. When pulled out of the hole, he was as his eventual logo depicted: his helmeted head sitting directly atop his running shoes, the whole of his body supposedly compressed between shoes and neck ("…I've got my balls in my throat. Can you get me out of here please? I'm in pain, okay?").

text: Super Dave is often accompanied on his various exploits by loyal friend, sidekick and assistant stunt coordinator Fuji Hakayito (comedian Art Irizawa). It is usually left to Fuji to set in motion whatever stunt Dave is performing. Super Dave runs the fictional "Super Dave Compound"—a combination resort, theme park, learning center, and anything else needed for the plot-line of a particular episode. Many of his misadventures were based on demonstrating various aspects of the compound.

text: Trademark components of the Super Dave character include his frequent thumbs-ups, and his many uniforms - most of which include red, white and blue, yellow stars, and stripes, and are reminiscent of those worn by Evel Knievel (as he is a parody of him). He was also known for using "only Genuine Saskatchewan Sealskin bindings" in the manufacture of his safety harnesses or seat-belts (not that they ever did him any good). Seals are not indigenous to the landlocked province Saskatchewan, and are therefore part of the comedic juxtaposition predicated on the eventual failure of the stunt by being both "genuine sealskin" and from Saskatchewan.

text: Appearance history[edit]

text: Television[edit]

text:
The John Byner Comedy Hour (1972), first appearance of the character
Van Dyke and Company (1976)
The Redd Foxx Comedy Hour (1977)
Bizarre (1980–1985)
The Tonight Show Starring Johnny Carson (1980s), recurring guest
Late Night with David Letterman (1980s), recurring guest
Super Dave (1987–1991)
Super Dave: Daredevil for Hire (1992)
In Living Color (1993)
WWE Monday Night RAW (1994-1995)
Super Dave's Vegas Spectacular (1995)
Super Dave's All Stars (1997)
Hollywood Squares (1998–2004), recurring guest
Super Dave's Spike-Tacular (2009)[1][2]
The Tonight Show with Conan O'Brien (November 11, 2009)[3]
TNA Impact! (November 12, 2009)
Norm Macdonald Live (March 26, 2013)
Anger Management (TV series) (April 2013)

text: Feature film[edit]

text: The Extreme Adventures of Super Dave (2000)

text: Commercials[edit]

text:
Super Dave was featured in Nike commercials in 1990, comparing his latest dunking contraptions to the Nike Air Flight basketball shoe, and appearing with such NBA stars as Reggie Miller and Gerald Wilkins.
On several occasions in the late 1990s, he has appeared in commercials for Haggar Clothing. Some notable stunts he was in were going through an extreme car wash, and falling off a motorhome with lots of heavy debris landing on him to show that their cotton-based clothing will never wrinkle.

text: Cultural references[edit]

text: He was referenced by Richie Rich in Tupac Shakur's song "Rather Be Ya Nigga", in the line, "Smoke blunts, but leave them stunts up to Super Dave," in the Ice Cube song "Wicked", with the line "We'll have to break his ass up like Super Dave," in the A Tribe Called Quest song "The Chase, Part II" with the lyric, "We flippin' on niggas like we Super Dave," in the Cool Calm Pete song "Lost" with the line "You(r) fake stunts that's strictly for Super Dave". On Fat Joe's song "Bet Ya Man Can't (Triz)," Cuban Link raps, "We do maneuvers like Super Dave, always with a group of babes."

text: Damon Wayans' character Jimmy Dix in the 1991 film The Last Boy Scout says after being thrown off an overpass onto a parked car below, "It's okay, folks. Thank you. Danger is my middle name. Don't try this at home, folks. I'm a trained professional. There's me, and there's Super Dave." Wayans also had a recurring character on In Living Color, "The Head Detective", that was similar in appearance to the Super Dave logo.

text: On the ABC television show Happy Endings, Super Dave Osborne is referenced in season 1 episode 8 entitled, "The Girl with the David Tattoo".