document_title: Alice in Wonderland (2010 film)

question_text: who plays the queen of hearts in tim burton's alice in wonderland

question_tokens: who plays the queen of hearts in tim burton 's alice in 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 Nivens McTwisp the White Rabbit, Mallymkun the Dormouse, the Dodo, the Talking Flowers, and Tweedledee and Tweedledum. They argue over whether Alice is "the right Alice" who must slay Iracebeth of Grims the Red Queen's Jabberwocky and restore Mirana of Marmoral 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 Ilosovic Stayne the Knave of Hearts. Alice, Tweedledum and Tweedledee escape into the woods. The Knave steals the Caterpillar's scroll. Mallymkun leaves the others behind with one of the Bandersnatch's eyes in her possession. Tweedle Dum and Tweedle Dee 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 Thackery Earwicket the March Hare and Tarrant Hightopp the Mad Hatter. The Hatter helps Alice avoid capture by allowing himself to be seized instead. Later, Alice is found by Bayard the Bloodhound; but Alice insists upon helping the Hatter. At the Red Queen's citadel and palace (which is named Salazan Grum), the Red Queen is unaware of Alice's true identity and therefore welcomes her as a guest, named Um from Umbridge. Alice learns that the Vorpal sword, the only weapon capable of killing the Jabberwock, 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. Former caterpillar 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 falling masonry stone kills the Jubjub bird. The White Queen banishes the Red Queen and the Knave into exile. 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 his friends (especially the Hatter). 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 Jabberwocky. 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]

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 twenty-eightth-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: Impact[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] and Snow White and the Seven Dwarfs.[148] The company also has plans for live-action spin-offs of Peter Pan, One Hundred and One Dalmatians, and Snow White and the Seven Dwarfs along with a live-action prequel to Aladdin.[149][150][151][152]

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.[153][154][155] The musical is aiming to make its world-premiere in London.[156]

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.[157] On May 31, 2013, James Bobin began talks to direct the sequel under the working title Alice in Wonderland: Into the Looking Glass.[158] Johnny Depp returned as The Hatter, Mia Wasikowska reprised the role of Alice, and Helena Bonham Carter returned as the Red Queen.[159][160][161] Several other cast members from the 2010 film also reprised their roles in the sequel.[162] 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.[160][163][164] On January 21, 2014, the film was again retitled to Alice in Wonderland: Through the Looking Glass.[165] The title was later reworked once again to Alice Through the Looking Glass.


document_title: The Princess and the Frog

question_text: what is the name of the alligator in princess and the frog

root

text: The Princess and the Frog

text: Plot[edit]

text: In 1912 New Orleans a seamstress, Eudora, is reading the story of The Frog Prince to her daughter, Tiana, and her friend, Charlotte La Bouff. Charlotte finds the story to be romantic, while Tiana proclaims she will never kiss a frog. Fourteen years later, Tiana has grown into an aspiring young chef who works as a waitress for two local diners, so she can save enough money to start her own restaurant, a dream she shared with her deceased father James.

tag: p

text: Prince Naveen of Maldonia arrives in New Orleans to better his financial situation. After being cut off by his parents, Naveen intends to marry a rich southern belle, and Charlotte is the perfect candidate. Eli "Big Daddy" La Bouff, a rich sugar baron and Charlotte's father, is hosting a masquerade ball in Naveen's honor. Charlotte hires Tiana to make beignets for the ball, giving her enough money to buy an old sugar mill to convert into her restaurant.

text: Meanwhile, Naveen and his valet, Lawrence, meet Dr. Facilier, a voodoo witch doctor who plans to rule the city of New Orleans. Inviting them into his emporium, Facilier convinces them that he can make their dreams come true, but neither man gets what they are expecting; Naveen is transformed into a frog, while Lawrence is given a voodoo charm that makes him resemble Naveen. Facilier intends for Lawrence to marry Charlotte, after which he will kill Big Daddy and claim his fortune.

text: At the ball, Tiana discovers she may lose the mill to a higher bidder. Tiana then meets Naveen, who, believing her to be a princess because of her costume, asks her to kiss him and break Facilier's spell. In exchange for the money needed, Tiana accepts, but when she kisses Naveen, she is turned into a frog herself. A chase ensues, and Tiana and Naveen escape to a bayou.

text: At the bayou, Tiana and Naveen meet Louis, a trumpet-playing alligator who longs to be human, and Ray, a Cajun firefly who is in love with the morning star, whom he calls Evangeline. Louis and Ray offer to lead Tiana and Naveen to the hoodoo priestess Mama Odie, who they believe can undo the curse. During this time, Tiana and Naveen develop feelings for each other. Meanwhile, Facilier makes a deal with the voodoo spirits, offering them the souls of the people of New Orleans in exchange for finding Naveen.

text: When the four find Mama Odie, she tells them that Naveen must kiss a true princess in order to break the spell. They return to New Orleans to find Charlotte, who is the princess of the Mardi Gras Parade, but only until midnight. Naveen tells Ray he loves Tiana and is willing to give up his dreams for her, but before he can tell her, he is captured by the demons and brought to Facilier.

text: After Ray tells Tiana that Naveen loves her, Tiana goes to the Mardi Gras parade to find a human "Naveen" marrying Charlotte; but Ray rescues the real Naveen and steals the charm that disguises Lawrence. Ray finds Tiana, gives her the charm and attempts to hold off the demons so she can escape, but Facilier kills him. Facilier then offers Tiana to make her restaurant dream come true in exchange for the charm. Realizing she would rather be with Naveen, and realizing Facilier's true intentions, Tiana destroys the charm. The angered voodoo spirits claim Facilier himself as payment for his debts to them and drag him to his death in hell.

text: Tiana and Naveen then reveal their love to each other and explain the situation to Charlotte, who agrees to kiss Naveen, as Lawrence is taken away by the police. However, the clock strikes midnight before she can kiss him, but the two decide they are content to live together as frogs. Then they bid farewell to Ray along with Louie, later to find out Ray finally joined Evangeline. Tiana and Naveen are wed by Mama Odie; and because of Tiana's new status as princess, they are restored back to human form after their kiss. Later, the couple returns to New Orleans to legally get married and celebrate, and together the two open their new restaurant. The movie ends with Tiana and Naveen dancing as the two stars, Ray and Evangeline, twinkle in the sky.

text: Cast[edit]

text:
Anika Noni Rose as Tiana/"Tia", a 19-year-old waitress and aspiring chef/restaurateur. She is a smart, hard-working, and independent young woman, but one who works so hard that she often forgets important things such as love, fun, and family.[9] Originally, Tiana was supposed to be known as "Maddy". Mark Henn served as the supervising animator for Tiana in both human and frog form, making her one of several Disney lead female characters he has animated.[10] Henn declared that he attempted to make a character that could stand on its own "without repeating what I've done on Belle, Ariel, and Jasmine", with Tiana having a more cynical and grounded personality. Rose's performance influenced much of the animation, with the actress even suggesting to Henn for Tiana to be left-handed like herself.[11]

Elizabeth Dampier voices Tiana as a child.

Bruno Campos as Prince Naveen, the prince of Maldonia. Naveen is a 24-year-old ne'er-do-well and playboy who has been cut off from his family's riches until he learns the value of responsibility. Randy Haycock served as the supervising animator of Naveen in both human and frog form.[12] As a prince from the fictional kingdom of Maldonia (which the directors describe as "located in an East of the Sun and West of the Moon location"), Campos adlibbed a French accent with his Brazilian accent to make up a Maldonian accent.[citation needed]
Michael-Leon Wooley as Louis, a friendly, neurotic, trumpet-playing alligator whose dream is to become human so he can join a jazz band. His name comes from the famous jazz artist and trumpeter, Louis Armstrong. Eric Goldberg, the supervising animator of Louis and other miscellaneous characters,[12] won the Annie Award for Character Animation in a Feature Production for his work on the film.[13]
Jim Cummings as Ray, a Cajun firefly. He and his vast family are close friends with Mama Odie, so he offers to help the frogs get to her. Ray has an unrequited love for the Evening Star, which he believes is another firefly named "Evangeline" (a reference to the 19th-century Longfellow poem).[14] Mike Surrey was the supervising animator for Ray. Ray's name comes from the blind pianist Ray Charles.[12]
Keith David as Doctor Facilier, also known as The Shadow Man, a voodoo bokor (witch doctor). Bruce W. Smith, supervising animator of Doctor Facilier, referred to the character as the "lovechild" of his two favorite Disney Villains: Captain Hook from Peter Pan (1953), and Cruella de Vil from One Hundred and One Dalmatians (1961).[15] Smith was nominated for the Annie Award for Character Animation in a Feature Production for his work.[13]
Jennifer Cody as Charlotte "Lottie" La Bouff, a wealthy Southern débutante and Tiana's best friend since childhood who dreams of marrying a prince. Nik Ranieri served as the supervising animator of Charlotte as an adult and child.[12] Jennifer Cody won the Annie Award for Voice Acting in a Feature Production for her performance.[13]

Breanna Brooks voices Charlotte as a child.

tag: ul

text:
Jenifer Lewis as Mama Odie, a blind, 197-year-old voodoo priestess, who serves as the film's 'Fairy Godmother figure'. Andreas Deja was the supervising animator for both Mama Odie and her pet snake, Juju, and was nominated for the Annie Award for Character Animation in a Feature Production.[13][16]
Peter Bartlett as Lawrence, Prince Naveen's valet, whom Dr. Facilier recruits as a partner in his scheme by transforming him to look like Naveen using a blood charm. Anthony DeRosa was the supervising animator for the Lawrence character, whose design was influenced by the Mr. Smee character from Peter Pan.[14]
John Goodman as Eli "Big Daddy" La Bouff, a very wealthy Southern sugar mill owner and father of Charlotte La Bouff. While he spoils Charlotte with everything she asks for, he is a loving and generous man, and loves Tiana's cooking. Duncan Marjoribanks was the supervising animator for Eli "Big Daddy" La Bouff.[12]
Oprah Winfrey as Eudora, Tiana's mother who wants to see her happy and worries that Tiana focuses too much on her dream of owning a restaurant.[17] Ruben A. Aquino animated both Eudora and her husband, James.[12]
Terrence Howard as James, Tiana's father, who helped instil a strong work ethic in Tiana. He served in World War I as evidenced by a dresser-top portrait photo of him in a World War I uniform. The circumstances of his death were not stated in the film; however, his portrait is accompanied by the Distinguished Service Cross, a US medal awarded to soldiers who demonstrated great heroism or risk of life in battle.
Frank Welker as Stella (vocal effects), Charlotte's pet dog who talks to Tiana during the film, when she is chasing Tiana and Naveen as frogs on the table. She loves Tiana's beignets and begs at Tiana when she wants one.
Dee Bradley Baker as Juju, Mama Odie's green pet snake.
Corey Burton and Jerry Kernion as the Fenner Brothers, two real estate agents who eventually sell Tiana the sugar mill.
Ritchie Montgomery, Don Hall, and Paul Briggs as Reggie, Darnell, and Two-Fingers, three bumbling frog hunters who try to catch Tiana and Naveen as frogs. Their resemblance to the Three Stooges has been noted.
Kevin Michael Richardson and Emeril Lagasse as Ian and Marlon, the two alligators.

text: Production[edit]

text: Early development[edit]

text: Disney had once announced that 2004's Home on the Range would be their last traditionally animated film. After the company's acquisition of Pixar in early 2006, Ed Catmull and John Lasseter, the new president and chief creative officer of Disney Animation Studios, reversed this decision and reinstated hand-drawn animation at the studio.[18] Many animators who had either been laid off or had left the studio when the traditional animation units were dissolved in 2003 were located and re-hired for the project.[19] Lasseter also brought back directors Ron Clements and John Musker, whose earlier works include The Great Mouse Detective (1986), The Little Mermaid (1989), Aladdin (1992), Hercules (1997), and Treasure Planet (2002).[20][21] The duo had left the company in 2005, but Lasseter requested their return to Disney to direct and write the film and had let them choose the style of animation (traditional or CGI) they wanted to use.[14]

text: The story for the film began development by merging two separate projects in development at Disney and Pixar at the time, both based around the "Frog Prince" fairy tale.[14][19] One of the projects was based on E. D. Baker's The Frog Princess, in which the story's heroine (Princess Emma) kisses a prince turned frog (Prince Eadric), only to become a frog herself.[19] The Princess and the Frog returns to the musical film format used in many of the previously successful Disney animated films, with a style Musker and Clements declared, like with Aladdin and The Little Mermaid, had inspiration from Golden Age Disney features such as Cinderella.[11]

text: Musker and Clements thought that given all fairy tales were set in Europe, they could do an American fairy tale.[11] They stated that they chose New Orleans as a tribute to the history of the city, for its "magical" qualities, and because it was Lasseter's favorite city.[14][22] The directors spent ten days in Louisiana before starting to write the film.[11]

text: The Princess and the Frog was originally announced as The Frog Princess in July 2006,[18] and early concepts and songs were presented to the public at the Walt Disney Company's annual shareholders' meeting in March 2007.[23] These announcements drew criticism from African-American media outlets, due to elements of the Frog Princess story, characters, and settings considered distasteful.[24][25] African-American critics disapproved of the original name for the heroine, "Maddy", due to its similarity to the derogatory term "mammy".[24] Also protested were Maddy's original career as a chambermaid,[25] the choice to have the black heroine's love interest be a non-black prince, which upset opponents of on-screen interracial romance,[24] and the use of a black male voodoo witchdoctor as the film's villain.[24] The Frog Princess title was also thought by critics to be a slur on French people.[26] Also questioned was the film's setting of New Orleans, which had been heavily damaged by Hurricane Katrina in 2005, resulting in the expulsion of a large number of mostly black residents.[27] Critics claimed the choice of New Orleans as the setting for a Disney film with a black heroine was an affront to the Katrina victims' plight.[24][27]

text: In response to these early criticisms, the film's title was changed in May 2007 from The Frog Princess to The Princess and the Frog. The name "Maddy" was changed to "Tiana",[26][28] and the character's occupation was altered from chambermaid to waitress.[24] Talk show host Oprah Winfrey was hired as a technical consultant for the film, leading to her taking a voice acting role in the film as Tiana's mother Eudora.[14]

text: Writing and themes[edit]

text: The head of story, Don Hall, described the plot as a fairy tale "twisted enough that it seems new and fresh", with a kingdom that is a modern city, a handsome prince that is a "knuckleheaded playboy" and a variation on the fairy godmother with Mama Odie. Co-writer Rob Edwards also said The Princess and the Frog was "a princess movie for people who don't like princess movies". As the writers thought Tiana's character motivation of simply dreaming of having her own restaurant was not appealing enough, they expanded so it was her father's as well, with the extra philosophy of "food bringing people together from all walks of life". Musker and Clements stated that while Tiana already starts as a sympathetic character, the events of the plot make her "understand things in a deeper level" and change people around her. Both protagonists would learn from each other — Naveen to take responsibilities, Tiana to enjoy life — as well as figuring from Ray's passion for Evangeline that the perfect balance is brought by having someone you love to share the experience.[11] Tiana became the first African-American Disney Princess.[29][30]

text: Voice cast[edit]

text: On December 1, 2006, a detailed casting call was announced for the film at the Manhattan Theatre Source forum.[31] The casting call states the film as being an American fairy tale musical set in New Orleans during the 1920s Jazz Age and provides a detailed list of the film's major characters.

text: In February 2007, it was reported that Dreamgirls actresses Jennifer Hudson and Anika Noni Rose were top contenders for the voice of Tiana, and that Alicia Keys directly contacted Walt Disney Studios chairman Dick Cook about voicing the role.[32] It was later reported that Tyra Banks was considered for the role as well.[33] By April 2007, it was confirmed that Rose would be voicing Tiana.[34] Three months later, it was reported that Keith David would be doing the voice of Dr. Facilier, the villain of the film.[35]

text: Animation and design[edit]

text: Clements and Musker had agreed from very early on that the style they were aiming for was primarily that of Lady and the Tramp (1955), a film which they and John Lasseter feel represents "the pinnacle of Disney's style".[36] "After that, everything started becoming more stylized, like Sleeping Beauty, 101 Dalmatians – which are fantastic films as well, but there's a particular style (to 'Lady and the Tramp') that's so classically Disney."[37] Lady and the Tramp also heavily informed the style of the New Orleans scenes, while Disney's Bambi (1942) served as the template for the bayou scenes.[36] Bambi was described as a stylistic reference for the painted backgrounds, as according to art director Ian Gooding "Bambi painted what it feels like to be in the forest instead of the forest" so The Princess and the Frog would in turn try capturing the essence of roaming through New Orleans.[11]

text: The former trend in Disney's hand-drawn features where the characters and cinematography were influenced by a CGI-look has been abandoned. Andreas Deja, a veteran Disney animator who supervised the character of Mama Odie, says "I always thought that maybe we should distinguish ourselves to go back to what 2D is good at, which is focusing on what the line can do rather than volume, which is a CG kind of thing. So we are doing less extravagant Treasure Planet kind of treatments. You have to create a world but [we're doing it more simply]. What we're trying to do with Princess and the Frog is hook up with things that the old guys did earlier. It's not going to be graphic...".[38] Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s: "All those things that were non-graphic, which means go easy on the straight lines and have one volume flow into the other – an organic feel to the drawing."[38] Lasseter also felt that traditional animation created more character believability.[39] For example, with Louis the alligator, created by Eric Goldberg, Lasseter said: "It's the believability of this large character being able to move around quite like that."[39] Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement. The character design tried to create beautiful drawings through subtle shapes, particularly for most characters being human. For the frog versions of Tiana and Naveen, while the animators started with realistic designs, they eventually went for cutesy characters "removing all that is unappealing in frogs", similar to Pinocchio's Jiminy Cricket.[11]

text: Toon Boom Animation's Toon Boom Harmony software was used as the main software package for the production of the film, as the Computer Animation Production System (CAPS) system that Disney developed with Pixar in the 1980s for use on their previous traditionally animated films had become outdated.[40] The Harmony software was augmented with a number of plug-ins to provide CAPS-like effects such as shading on cheeks and smoke effects.[16][38] The reinstated traditional unit's first production, a 2007 Goofy cartoon short entitled How to Hook Up Your Home Theater, was partly animated without paper by using Harmony and Wacom Cintiq pressure-sensitive tablets. The character animators found some difficulty with this approach, and decided to use traditional paper and pencil drawings, which were then scanned into the computer systems, for The Princess and the Frog.[16]

text: The one exception to the new Toon Boom Harmony pipeline was the "Almost There" dream sequence, which utilized an Art Deco graphic style based on the art of Harlem Renaissance painter Aaron Douglas.[41] Supervised by Eric Goldberg and designed by Sue Nichols,[42] the "Almost There" sequence's character animation was done on paper without going through the clean-up animation department,[14] and scanned directly into Photoshop. The artwork was then enhanced to affect the appearance of painted strokes and fills, and combined with backgrounds, using Adobe After Effects.[15][16]

text: The visual effects and backgrounds for the film were created digitally using Cintiq tablet displays.[16][43] Marlon West, one of Disney's veteran animation visual effects supervisors, says about the production; "Those guys had this bright idea to bring back hand-drawn animation, but everything had to be started again from the ground up. One of the first things we did was focus on producing shorts, to help us re-introduce the 2D pipeline. I worked as vfx supervisor on the Goofy short, How to Hook Up Your Home Theater. It was a real plus for the effects department, so we went paperless for The Princess and the Frog." The backgrounds were painted digitally using Adobe Photoshop, and many of the architectural elements were based upon 3D models built in Autodesk Maya.[16] Much of the clean-up animation, digital ink-and-paint, and compositing were outsourced to third-party companies in Orlando, Florida (Premise Entertainment), Toronto, Canada (Yowza Digital Animation), and Brooklin, São Paulo, Brazil (HGN Produções)[12]

text: Music[edit]

text: During Disney's 2007 shareholder meeting, Randy Newman and the Dirty Dozen Brass Band performed the film's opening number, "Down in New Orleans", with famous New Orleans singer Dr. John singing, while slides of pre-production art from the film played on a screen.[23] Other songs in the film include "Almost There" (a solo for Tiana), "Dig a Little Deeper" (a song for Mama Odie), "When We're Human" (a song for Louis, Tiana and Naveen [as frogs]), "Friends on the Other Side" (a solo for Doctor Facilier), and "Gonna Take You There" and "Ma Belle Evangeline" (two solos for Ray).[23] Newman composed, arranged, and conducted the music for the film, a mixture of jazz, zydeco, blues, and gospel styles performed by the voice cast members for the respective characters while R&B singer-songwriter Ne-Yo wrote and performed the end title song "Never Knew I Needed", an R&B love song referring to the romance between the film's two main characters, Tiana and Naveen. Supported by a music video by Melina, "Never Knew I Needed" was issued to radio outlets as a commercial single from the Princess and the Frog soundtrack.[44]

text: The film's soundtrack album, The Princess and the Frog: Original Songs and Score, contains the ten original songs from the film and seven instrumental pieces. The soundtrack was released on November 23, 2009, the day before the limited release of the film in New York and Los Angeles.[45]

text: Release[edit]

text: The film premiered in theaters with a limited run in New York and Los Angeles beginning on November 25, 2009, followed by wide release on December 11, 2009.[46] The film was originally set for release on Christmas Day 2009, but its release date was changed due to a competing family film, Alvin and the Chipmunks: The Squeakquel, scheduled for release the same day.[47] The Princess and the Frog will have a limited re-release in AMC Theatres, lasting from October 6-12, 2017 as part of the Dream Big, Princess campaign.[48][49]

text: Marketing[edit]

text: The Princess and the Frog was supported by a wide array of merchandise leading up to and following the film's release. Although Disney's main marketing push was not set to begin until November 2009, positive word-of-mouth promotion created demand for merchandise well in advance of the film.[50] Princess Tiana costumes were selling out prior to Halloween 2009, and a gift set of Tiana-themed hair-care products from Carol's Daughter sold out in seven hours on the company's website.[50] Other planned merchandise includes a cookbook for children and even a wedding gown.[50] Princess Tiana was also featured a few months before the release in the Disney on Ice: Let's Celebrate! show.[51] The film itself was promoted through advertisements, including one from GEICO where Naveen, as a frog, converses with the company's gecko mascot.[52]

text: A live parade and show called Tiana's Showboat Jubilee! premiered on October 26, 2009, at the Magic Kingdom theme park at Walt Disney World Resort in Florida,[53] and on November 5 at Disneyland in California.[54] In Disneyland, actors in New Orleans Square paraded to the Rivers of America and boarded the park's steamboat.[54] From there, the cast, starring Princess Tiana, Prince Naveen, Louis the alligator, and Doctor Facilier, would sing songs from the movie, following a short storyline taking place after the events of the film. The Disneyland version's actors actually partook in singing, while the Walt Disney World rendition incorporated lip-syncing.[54]

text: Tiana's Showboat Jubilee! ran at both parks until January 3, 2010.[53][54] At Disneyland Park, the show was replaced by a land-based event called Princess Tiana's Mardi Gras Celebration, which features Princess Tiana along with five of the original presentation's "Mardi Gras dancers" and the park's "Jambalaya Jazz Band" as they perform songs from the movie.[55] "Tiana's Mardi Gras Celebration" officially ended on October 3, 2010. However, it returned to Disneyland from 2011-2013 as part of the "Limited Time Magic" family-fun weekends.[56][57][58]

text: Tiana also appears in Disneyland Paris' New Generation Festival.[59] Some of the characters appear frequently during World of Color, the nightly fountain and projection show presented at Disney California Adventure. Disney announced on June 4, 2009, that they would release a video game inspired by the film and it was released on November 2009 exclusively for Wii and Nintendo DS platforms. It has been officially described an "adventure through the exciting world of New Orleans in a family-oriented video game", featuring events from the film and challenges for Princess Tiana.[60]

text: Home media[edit]

text: The Princess and the Frog was released in North America on DVD and Blu-ray Disc on March 16, 2010.[61]

text: The film is available on DVD, Blu-ray Disc, and Blu-ray Disc combo pack editions; the combo pack includes DVD and digital copies of the film, along with the Blu-ray Disc version.[61] The film was released on DVD and Blu-ray Disc in Australia on June 2, 2010, and on June 21, 2010, in the United Kingdom. As of December 2010 the DVD has sold 4,475,227 copies and has made $71.3 million in DVD sales,[62] making it the ninth-best-selling DVD of 2010.[63]

text: Reception[edit]

text: The financial and critical success of The Princess and the Frog persuaded Disney to green-light at least one new hand-drawn animated film to be released every two years.[19] However, the blog /Film noted in July 2014 with the release of hand-drawn concept art for the 2013 computer animated film Frozen, that any future hand-drawn animated films have been "killed" for the time being due to The Princess and the Frog failing "to ignite the box office".[64] Two months later, however, many Disney artists announced they were working on a new independent hand drawn animated film, Hullabaloo as part of an attempt to bring back hand-drawn animation.[65] Despite such speculation, Walt Disney Animation Studios has continued to use both hand-drawn animation and computer animation in subsequent films.

text: Box office[edit]

text: On its limited day release, the film grossed $263,890 at two theaters and grossed $786,190 its opening weekend.[66][67] On its opening day in wide release, the film grossed $7 million at 3,434 theaters.[68] It went on to gross $24.2 million over the opening weekend averaging $7,050 per theater,[69] ranking at #1 for the weekend, and making it the highest-grossing start to date for an animated movie in December, a record previously held by Beavis and Butt-Head Do America.[70] The film went on to gross $104.4 million (in the United States and Canada) and $267 million (worldwide), making it a box office success, and became the fifth-highest-grossing animated film of 2009.[71] While the film did out-gross Disney's more recent hand-drawn films such as The Emperor's New Groove, Atlantis: The Lost Empire, Treasure Planet, Brother Bear, and Home on the Range, it was less auspicious than the animated films from Walt Disney Animation Studios' 1990s heyday. Disney animator Tom Sito compared the film's box office performance to that of The Great Mouse Detective (1986), which was a step up from the theatrical run of the 1985 box office bomb The Black Cauldron.[72]

text: Looking back on the experience four years later, Catmull acknowledged that Disney had made a "serious mistake" in the process of marketing and releasing the film.[73] The Walt Disney Studios' marketing department had warned Disney Animation that the word "princess" in the title "would lead moviegoers to think that the film was for girls only," but the animation studio's management insisted on keeping the "princess" title because they truly believed that the film's excellent quality and beautiful hand-drawn animation would bring in all quadrants anyway.[73] In Catmull's words, this belief "was our own version of a stupid pill."[73] The marketing department turned out to be correct in their prediction that many moviegoers would and did avoid the film because they thought it was "for little girls only."[73] This error was further compounded by the fact that the film opened five days before Avatar.[73]

text: Looking back seven years later, Lasseter told Variety: "I was determined to bring back [hand-drawn animation] because I felt it was such a heritage of the Disney studio, and I love the art form ... I was stunned that Princess didn’t do better. We dug into it and did a lot of research and focus groups. It was viewed as old-fashioned by the audience."[74]

text: Critical reception[edit]

text: The film received largely positive reviews from critics, praising the animation, characters, music and themes. Review aggregator Rotten Tomatoes reported that 84% of 185 critics have given the film a positive review, with a rating average of 7.4 out of 10.[75] The site's general consensus is that "The warmth of traditional Disney animation makes this occasionally lightweight fairy-tale update a lively and captivating confection for the holidays."[76] Metacritic, which assigns a weighted average score out of 0–100 from film critics, has a rating score of 73 based on 29 reviews.[77]

text: Lisa Schwarzbaum of Entertainment Weekly gave the film an "A" grade and applauded the film's creative team for "uphold[ing] the great tradition of classic Disney animation".[78] Kirk Honeycutt of The Hollywood Reporter praised Walt Disney Animation for "rediscovering its traditional hand-drawn animation" and for "a thing called story".[79] David Germain of the Associated Press wrote that "The Princess and the Frog is not the second coming of Beauty and the Beast or The Lion King. It's just plain pleasant, an old-fashioned little charmer that's not straining to be the next glib animated compendium of pop-culture flotsam."[80] Justin Chang of Variety was less receptive, stating "this long-anticipated throwback to a venerable house style never comes within kissing distance of the studio's former glory".[81] Joe Neumaier of the New York Daily News gave the film 3/5 stars while saying "The Princess and the Frog breaks the color barrier for Disney princesses, but is a throwback to traditional animation and her story is a retread".[82] Village Voice's Scott Foundas found that "the movie as a whole never approache[d] the wit, cleverness, and storytelling brio of the studio's early-1990s animation renaissance (Beauty and the Beast, The Lion King) or pretty much anything by Pixar".[83] Betsy Sharkey of the Los Angeles Times gave the film a positive review claiming that "the dialogue is fresh-prince clever, the themes are ageless, the rhythms are riotous and the return to a primal animation style is beautifully executed."[84] Chicago Sun-Times film critic Roger Ebert gave the film three out of four stars and admired Disney's step back to traditional animation, writing, "No 3-D! No glasses! No extra ticket charge! No frantic frenzies of meaningless action! And...good gravy! A story! Characters! A plot! This is what classic animation once was like!", but stated that the film "inspires memories of Disney's Golden Age it doesn't quite live up to, as I've said, but it's spritely and high-spirited, and will allow kids to enjoy it without visually assaulting them."[85]

text: S. Jhoanna Robledo of Common Sense Media gave the film three out of five stars, writing, "First African-American Disney princess is a good role model".[86] Saint Bryan of the NBC-TV Seattle praised the film and called it "The Best Disney Movie Since The Lion King".[87]

text: Upon its release, the film created controversy among some Christians over its use of Louisiana Voodoo as a plot device.[88] Christianity Today's review of the film cited its sexual undertones and use of voodoo, arguing that the scenes with Dr. Facilier and his "friends on the other side" contain many horror elements and that young children might be frightened by the film.[89] The film's treatment of Louisiana voodoo as a type of magic instead of a religion also drew criticism from non-Christian factions.[90]

text: Awards and nominations[edit]

text: The film was nominated for the Academy Award for Best Animated Feature and twice for the Academy Award for Best Original Song, but lost to Up and Crazy Heart, respectively.[3][91] It was also nominated for eight Annie Awards and, at the 37th Annie Awards Ceremony on February 6, 2010, won three.[13]

text:
Award
Category
Nominee
Result

2009 Satellite Awards[92]
Best Motion Picture, Animated or Mixed Media
The Princess and the Frog
Nominated

Best Original Song
Randy Newman
(Almost There)

Randy Newman
(Down in New Orleans)

African-American Film Critics Association Awards 2009
Top 10 Films
The Princess and the Frog
Won

Best Screenplay
John Musker, Ron Clements and Rob Edwards — Tied with Geoffrey Fletcher for Precious: Based on the Novel "Push" by Sapphire

2009 Producers Guild of America Awards[93]
Animated Theatrical Motion Pictures
Peter Del Vecho
Nominated

2009 Online Film Critics Society Awards[94]
Best Animated Feature
The Princess and the Frog

67th Golden Globe Awards[95]
Best Animated Feature Film

2009 Chicago Film Critics Association[96]
Best Animated Feature

2009 Critics Choice Awards[97]
Best Animated Feature

Best Score
Randy Newman

Best Song
(Almost There)

2009 Black Reel Awards[98]
Best Film
The Princess and the Frog

Best Song, Original or Adapted
Ne-Yo
(Never Knew I Needed)

Anika Noni Rose
(Almost There)
Won

Anika Noni Rose
(Down in New Orleans)
Nominated

Best Voice Performance
Keith David

Anika Noni Rose
Won

Best Ensemble
The Princess and the Frog
Nominated

37th Annie Awards[13]
Best Animated Feature

Animated Effects
James DeValera Mansfield
Won

Production Design in a Feature Production
Ian Gooding
Nominated

Character Animation in a Feature Production
Andreas Deja

Eric Goldberg
Won

Bruce W. Smith
Nominated

Voice Acting in a Feature Production
Jennifer Cody ("Charlotte")
Won

Jenifer Lewis ("Mama Odie")
Nominated

82nd Academy Awards[3][91]

Best Animated Feature
John Musker and Ron Clements

Best Music, Original Song
Randy Newman
(Almost There)

Randy Newman
(Down in New Orleans)

41st NAACP Image Awards
Outstanding Motion Picture

Outstanding Actress in a Motion Picture
Anika Noni Rose

36th Saturn Awards[99]
Best Animated Film
The Princess and the Frog

2010 Teen Choice Awards[100][101]
Choice Movie: Animated

2011 Grammy Awards[102]
Best Song Written for a Motion Picture, Television or Other Visual Media
Randy Newman
(Down in New Orleans)

Women Film Critics Circle
Best Animated Females
Anika Noni Rose (Tiana), Jennifer Cody (Charlotte La Bouff), Oprah Winfrey (Eudora), Jenifer Lewis (Mama Odie), and all other female characters in The Princess and the Frog.
Won

tag: table

text: Television[edit]

text:
Tiana made a guest-appearance on Sofia the First in the season 2 episode titled "Winter's Gift".[103]
A live-action version of Tiana will also be a main character on the seventh season of Once Upon a Time.[104][105][106]


document_title: Gunta

question_text: 1 gunta equals to how many square feet

question_tokens: 1 gunta equals to how many square feet

text: Gunta

text: In India[edit]

text:
1 Guntha = 121 square yards = 101.17 square metres
1 Guntha = 16 Annas
1 Guntha (R) = 33 ft (10 m). x 33 ft (10 m). = 1,089 sq ft (101.2 m2)[1][2]

text:
40 Gunthas = 1.0 Acre
4 Acre = 1 fg

text: In Pakistan[edit]

text: Other units were used alongside Imperial measures[3]

text:
1 Anna = 20.16 sq yd
6 Anna = 1 Guntha = 120 square yard
4 Guntha = 1 Jareeb = 484 square yard
4 Jareeb = 1 Kanee = 1936 square yard
10 Jareeb = 1 Acre = 4840 square yard
25 Acres = 1 Marabba


document_title: Anne of Cleves

question_text: who plays anne of cleves on the tudors

question_tokens: who plays anne of cleves on the tudors

text: Anne of Cleves

text: Early life[edit]

text: Anne was born on 22 September 1515[1][5] in Düsseldorf,[6] the second daughter of John III of the House of La Marck, Duke of Jülich jure uxoris, Cleves, Berg jure uxoris, Count of Mark, also known as de la Marck and Ravensberg jure uxoris (often referred to as Duke of Cleves) who died in 1538, and his wife Maria, Duchess of Julich-Berg (1491–1543). She grew up living in Schloss Burg on the edge of Solingen.

text: Anne's father was influenced by Erasmus and followed a moderate path within the Reformation.  He sided with the Schmalkaldic League and opposed Emperor Charles V. After John's death, Anne's brother William became Duke of Jülich-Cleves-Berg, bearing the promising epithet "The Rich". In 1526, her elder sister Sibylle was married to John Frederick, Elector of Saxony, head of the Protestant Confederation of Germany and considered the "Champion of the Reformation".

text: At the age of 11 (1527), Anne was betrothed to Francis, son and heir of the Duke of Lorraine while he was only 10.[7] Thus the betrothal was considered unofficial and was cancelled in 1535. Her brother William was a Lutheran but the family was unaligned religiously with her mother, the Duchess Maria, described as a "strict Catholic".[8] The Duke's ongoing dispute over Gelderland with Emperor Charles V made them suitable allies for England's King Henry VIII in the wake of the Truce of Nice. The match with Anne was urged on the King by his chief minister, Thomas Cromwell.

text: Wedding preparations[edit]

text: The artist Hans Holbein the Younger was dispatched to Düren to paint portraits of Anne and her younger sister, Amalia, each of whom Henry was considering as his fourth wife. Henry required the artist to be as accurate as possible, not to flatter the sisters. The two versions of Holbein's portrait are in the Musée du Louvre in Paris and the Victoria and Albert Museum in London. Another 1539 portrait, by the school of Barthel Bruyn the Elder, is in the collection of Trinity College, Cambridge.[9]

text: Negotiations with Cleves were in full swing by March 1539. Cromwell oversaw the talks and a marriage treaty was signed on 4 October of that year.

text: Henry valued education and cultural sophistication in women, but Anne lacked these.  She had received no formal education but was skilled in needlework and liked playing card games. She could read and write, but only in German.[10] Nevertheless, Anne was considered gentle, virtuous and docile, qualities that recommended her as a suitable candidate for Henry.

text: Anne was described by the French ambassador, Charles de Marillac, as tall and slim, "of middling beauty and of very assured and resolute countenance".[11] She was fair haired and was said to have had a lovely face. In the words of the chronicler Edward Hall, "Her hair hanging down, which was fair, yellow and long ... she was apparelled after the English fashion, with a French hood, which so set forth her beauty and good visage, that every creature rejoiced to behold her".[12] She appeared rather solemn by English standards, and looked old for her age. Holbein painted her with high forehead, heavy-lidded eyes and a pointed chin.

text: Henry met her privately on New Year's Day 1540 at Rochester Abbey in Rochester on her journey from Dover.[13] Henry and some of his courtiers, following a courtly-love tradition, went disguised into the room where Anne was staying.[13] Eustace Chapuys reported:

text:
Catherine of Aragon
 Anne Boleyn
 Jane Seymour
 Anne of Cleves
 Catherine Howard
 Catherine Parr

text: [The King] so went up into the chamber where the said Lady Anne was looking out of a window to see the bull-baiting which was going on in the courtyard, and suddenly he embraced and kissed her, and showed her a token which the king had sent her for New Year’s gift, and she being abashed and not knowing who it was thanked him, and so he spoke with her. But she regarded him little, but always looked out the window…. and when the king saw that she took so little notice of his coming he went into another chamber and took off his cloak and came in again in a coat of purple velvet. And when the lords and knights saw his grace they did him reverence.[14]

text: According to the testimony of his companions, he was disappointed with Anne, feeling she was not as described. According to the chronicler Charles Wriothesley, Anne "regarded him little",[15] though it is unknown if she knew if this was the king or not.[16] Henry did then reveal his true identity to Anne, although he is said to have been put off the marriage from then on. Henry and Anne then met officially on 3 January on Blackheath outside the gates of Greenwich Park, where a grand reception was laid out.[17]

text: Most historians believe that he later used Anne's alleged "bad" appearance and failure to inspire him to consummate the marriage as excuses, saying how he felt he had been misled, for everyone had praised Anne's attractions: "She is nothing so fair as she hath been reported", he complained.[18] Cromwell received some of the blame for the portrait by Holbein which Henry believed had not been an accurate representation of Anne and for some of the exaggerated reports of her beauty. When the king finally met Anne, he was reportedly shocked by her plain appearance; the marriage was never consummated.[19][20]

text: Henry urged Cromwell to find a legal way to avoid the marriage but, by this point, doing so was impossible without endangering the vital alliance with the Germans. In his anger and frustration the King finally turned on Cromwell, to his subsequent regret.[21] Cromwell's enemies, who had long waited for him to make his first false step, began to close in.

text: Marriage[edit]

text: Despite Henry's very vocal misgivings, the two were married on 6 January 1540 at the royal Palace of Placentia in Greenwich, London, by Archbishop Thomas Cranmer. The phrase "God send me well to keep" was engraved around Anne's wedding ring. Immediately after arriving in England, Anne conformed to the Anglican form of worship, which Henry expected.[22] The couple's first night as husband and wife was not a successful one. Henry confided to Cromwell that he had not consummated the marriage, saying, "I liked her before not well, but now I like her much worse."

text: In February 1540, speaking to the Countess of Rutland, Anne praised the King as a kind husband, saying: "When he comes to bed he kisseth me, and he taketh me by the hand, and biddeth me 'Good night, sweetheart'; and in the morning kisseth me and biddeth 'Farewell, darling.'" Lady Rutland responded: "Madam, there must be more than this, or it will be long ere we have a duke of York, which all this realm most desireth."[5]

text: Anne was commanded to leave the Court on 24 June, and on 6 July she was informed of her husband's decision to reconsider the marriage. Witness statements were taken from a number of courtiers and two physicians which register the king's disappointment at her appearance. Henry had also commented to Thomas Heneage and Anthony Denny that he could not believe she was a virgin.[23]

text: Shortly afterwards, Anne was asked for her consent to an annulment, to which she agreed.  Cromwell, the moving force behind the marriage, was attainted for treason. The marriage was annulled on 9 July 1540, on the grounds of non-consummation and her pre-contract to Francis of Lorraine. Henry VIII's physician stated that after the wedding night, Henry said he was not impotent because he experienced "duas pollutiones nocturnas in somno" (two nocturnal pollutions while in sleep; i.e., two wet dreams).[24][25] On 28 July, Henry married his fifth wife, Catherine Howard: on the same day Thomas Cromwell was executed, in theory for treason, but in practice as a scapegoat for the doomed German marriage.

text: After the annulment[edit]

text: The former queen received a generous settlement, including Richmond Palace, and Hever Castle, home of Henry's former in-laws, the Boleyns. Anne of Cleves House, in Lewes, East Sussex, is just one of many properties she owned; she never lived there. Henry and Anne became good friends—she was an honorary member of the King's family and was referred to as "the King's Beloved Sister". She was invited to court often and, out of gratitude for her not contesting the annulment, Henry decreed that she would be given precedence over all women in England save his own wife and daughters.[2]

text: After Catherine Howard was beheaded, Anne and her brother, the Duke of Cleves, pressed the king to remarry Anne.  Henry quickly refused to do so.[27] She seems to have disliked Catherine Parr, and reportedly reacted to the news of Henry's sixth marriage with the remark "Madam Parr is taking a great burden on herself."[28]

text: In March 1547, Edward VI's Privy Council asked her to move out of Bletchingley Palace, her usual residence, to Penshurst Place to make way for Thomas Cawarden, Master of Revels. They pointed out that Penshurst was nearer to Hever and the move had been Henry VIII's will.[29][30]

text: On 4 August 1553, Anne wrote to Mary I to congratulate her on her marriage to Philip of Spain.[31] On 28 September 1553, when Mary left St James's Palace for Whitehall, she was accompanied by her sister Elizabeth and Anne of Cleves.[32] Anne also took part in Mary I's coronation procession,[33][34] and may have been present at her coronation at Westminster Abbey.[35] These were her last public appearances. As the new Queen was a strict Catholic, Anne yet again changed religion, now becoming a Roman Catholic.[36][37]

text: After a brief return to prominence, she lost royal favour in 1554, following Wyatt's rebellion. According to Simon Renard, the imperial ambassador, Anne's close association with Elizabeth had convinced the Queen that "the Lady [Anne] of Cleves was of the plot and intrigued with the Duke of Cleves to obtain help for Elizabeth: matters in which the king of France was the prime mover".[38] There is no evidence that Anne was invited back to court after 1554.[39] She was compelled to live a quiet and obscure life on her estates.[39] After her arrival as the King's bride, Anne never left England. Despite occasional feelings of homesickness, Anne was generally content in England and was described by Holinshed as "a ladie of right commendable regards, courteous, gentle, a good housekeeper and verie bountifull to her servants."[4]

text: Death[edit]

text: When Anne's health began to fail, Mary allowed her to live at Chelsea Old Manor, where Henry's last wife, Catherine Parr, had lived after her remarriage.[40] Here, in the middle of July 1557, Anne dictated her last will. In it, she mentions her brother, sister, and sister-in-law, as well as the future Queen Elizabeth, the Duchess of Suffolk, and the Countess of Arundel.[41] She left some money to her servants and asked Mary and Elizabeth to employ them in their households.[42] She was remembered by everyone who served her as a particularly generous and easy-going mistress.[4]

text: Anne died at Chelsea Old Manor on 16 July 1557, eight weeks before her forty-second birthday. The most likely cause of her death was cancer.[40] She was buried in Westminster Abbey, on 3 August,[43] in what has been described as a "somewhat hard to find tomb" on the opposite side of Edward the Confessor's shrine and slightly above eye level for a person of average height. She is the only wife of Henry VIII to be buried in the Abbey.

text: Anne's epitaph in Westminster Abbey, which is in English, reads simply:[44]

text: She also has the distinction of being the last of Henry VIII's wives to die,[4] as she outlived Henry's last wife, Catherine Parr, by 9 years. She was not the longest-lived, however, since Catherine of Aragon was 50 at the time of her death.[42]

text: Literature[edit]

text: Anne is the subject of three biographies: Julia Hamilton's Anne of Cleves (1972), and Mary Saaler's Anne of Cleves: Fourth Wife of Henry VIII (1995), and Elizabeth Norton's Anne of Cleves: Henry VIII's Discarded Bride (2009). Retha Warnicke has written an academic study on Anne's marriage called The Marrying of Anne of Cleves. Royal Protocol in Early Modern England (2000).

text: Anne of Cleves appears as a character in many historical novels about Henry's reign. In The Fifth Queen (1906) by Ford Madox Ford she is portrayed as a sensible, practical woman who happily settles for  an annulment in return for  the material benefits it brings. Anne of Cleves is the main character of My Lady of Cleves (1946) by Margaret Campbell Barnes. About a third of The Boleyn Inheritance (2006) by Philippa Gregory is recounted from Anne's point of view, covering the period of Henry VIII's marriages to her and to her successor Catherine Howard. The book concludes with Anne living away from court, and avoiding the execution ceremonies of Howard and of Jane Boleyn, sister-in-law to one of Henry's queens and lady-in-waiting to all the others, including Anne. Gregory includes Anne in a non-fictional review of the period at the end of the book.

text: Anne and her Holbein portrait in the Louvre are the focus of the novel Amenable Women (2009) by Mavis Cheek.[45] Anne and Catherine Howard are the subject of The Queen's Mistake by Diane Haeger (2009), while Anne and Jane Seymour are covered in Volume 3 of Dixie Atkins's tetralogy A Golden Sorrow (2010). D. Lawrence-Young authored a biographical novel "Anne of Cleves - Henry's Luckiest Wife" published by GMTA/Celestial Press. N.C. USA, 2013.

text: In film and television[edit]

text:
The role of Anne of Cleves was played by Elsa Lanchester in The Private Life of Henry VIII, which was released in 1933. Lanchester's husband Charles Laughton played Henry VIII and won an Academy Award for his portrayal. The film received a Best Picture nomination; the first for a picture made outside the U.S.
Rick Wakeman composed the piece "Anne of Cleves" for his 1973 album, The Six Wives of Henry VIII
Anne of Cleves was played by Elvi Hale in the episode Anne of Cleves in the 1971 television series The Six Wives of Henry VIII. This series portrays Anne as a personally naive yet politically clever woman who convinces Henry against consummating the union so that he can get out of his alliance with the Germans should the need arise. When Anne's predictions prove true, it is she who suggests becoming "the King's beloved sister".
Pia Girard played Anne of Cleves in the 2003 ITV series Henry VIII.
The role of Anne of Cleves was played by actress and singer Joss Stone in the Showtime cable television series The Tudors. The series downplays Anne's naiveté and exaggerates her popularity so as to provide a foil for the immature, unpopular Catherine Howard. The series also has an anachronistically svelte Henry engaging in an affair with Anne after his marriage to Catherine Howard, realizing too late that he "like[s] her after all."
In 2014, 2015, an episode of Horrible Histories and its reboot called "Ridiculous Romances" and "Horrid Henry VIII" featured Martha Howe-Douglas and Katherine Jakeways, portraying Anne of Cleves.

text: Ancestry[edit]

text: showAncestors of Anne of Cleves         16. Adolph I, Duke of Cleves      8. John I, Duke of Cleves         17. Marie of Burgundy      4. John II, Duke of Cleves           18. John II, Count of Nevers      9. Elizabeth of Nevers         19. Jacqueline d'Ailly      2. John III, Duke of Cleves             20. Louis I, Landgrave of Hesse      10. Henry III, Landgrave of Hesse-Marburg         21. Anna of Saxony      5. Mathilde of Hesse           22. Philip I, Count of Katzenelnbogen      11. Anna of Katzenelnbogen         23. Anna of Württemberg      1. Anne of Cleves              24. William VIII of Jülich, Count of Ravensberg      12. Gerhard VII, Duke of Jülich-Berg         25. Adelheid of Tecklenburg      6. William IV, Duke of Jülich-Berg           26. Bernard II, Duke of Saxe-Lauenburg      13. Sophie of Saxe-Lauenburg         27. Adelheid of Pomerania      3. Maria of Jülich-Berg             28. Frederick I, Elector of Brandenburg      14. Albert III Achilles, Elector of Brandenburg         29. Elisabeth of Bavaria-Landshut      7. Sibylle of Brandenburg           30. Frederick II, Elector of Saxony      15. Anna of Saxony         31. Margarete of Austria

text: Footnotes[edit]

text:
^ Jump up to: a b c Weir 2009, p. 155.

^ Jump up to: a b Norton 2010, p. 108.

Jump up ^ Warnicke 2000, p. 252.

^ Jump up to: a b c d Norton 2010, p. 165.

^ Jump up to: a b Norton 2010, p. 7.

Jump up ^ At the time, the area was in the Duchy of Berg.

Jump up ^ Norton 2010, pp. 12–13.

Jump up ^ Fraser 1992, p. 364.

Jump up ^ "Trinity College, University of Cambridge". BBC Your Paintings.

Jump up ^ Norton 2010, pp. 10-11.

Jump up ^ Letters and Papers of the Reign of Henry VIII 15: 1540 no. 22.

Jump up ^ Hall 1809, pp. 836–837.

^ Jump up to: a b Warnicke 2000, p. 138.

Jump up ^ "Anne of Cleves – Not Love at First Sight" The History Jar retrieved February 6, 2017

Jump up ^ Wriothesley 1875, pp. 109–110.

Jump up ^ Warnicke 2000, p. 132.

Jump up ^ Warnicke 2000, p. 146.

Jump up ^ Schofield 2011, p. 361.

Jump up ^ Elton 1991, p. 157.

Jump up ^ Warnicke 2000, p. 77.

Jump up ^ Lehmberg 1977, p. 127.

Jump up ^ Weir 2007, p. 412.

Jump up ^ Strype I(II) 1822, pp. 450–463.

Jump up ^ Strype I(II) 1822, p. 461.

Jump up ^ "Holbein en Angleterre". Amateur d'Art, par Lunettes Rouge (in French). La Vie–Le Monde Group. 29 November 2006. Retrieved 4 January 2014..

Jump up ^ Boutell 1863, p. 243.

Jump up ^ Farquhar 2001, p. 77.

Jump up ^ Weir 2007, p. 498.

Jump up ^ Acts of the Privy Council 2, pp. 82–83, 471-472.

Jump up ^ Ellis 1817, pp. 131–132.

Jump up ^ Norton 2010, p. 153.

Jump up ^ Whitelock 2010, p. 192.

Jump up ^ Norton 2010, pp. 144–145.

Jump up ^ Porter 2007, pp. 256, 260–261.

Jump up ^ Porter 2007, p. 260 According to Antoine de Noailles, Elizabeth and Anne followed Mary into the Abbey.

Jump up ^ Norton 2010, p. 146.

Jump up ^ Weir 2007, p. 388.

Jump up ^ Norton 2010, p. 151.

^ Jump up to: a b Norton 2010, p. 154.

^ Jump up to: a b Fraser 1992, p. 504.

Jump up ^ Norton 2010, pp. 158-161.

^ Jump up to: a b Norton 2010, p. 161.

Jump up ^ Machyn 1968, pp. 145-146.

Jump up ^ Google Images

Jump up ^ Annis. "Amenable Women by Mavis Cheek". HistoricalNovels.info. Retrieved 2 April 2012. ; "Amenable Women, Mavis Cheek". Faber & Faber. Archived from the original on 15 May 2009. Retrieved 2 April 2012.

tag: ol


document_title: Iron response element

question_text: where is the ire located in the ferritin gene

text: Iron response element

text:
Iron response element
Predicted secondary structure and sequence conservation of IREIdentifiersSymbol
IRERfam
RF00037Other dataRNA type
Cis-regDomain(s)
EukaryotaSO
0000233PDB structures
PDBe

text: In molecular biology, the iron response element or iron-responsive element (IRE) is a short conserved stem-loop which is bound by iron response proteins (IRPs, also named IRE-BP or IRBP).  The IRE is found in UTRs (untranslated regions) of various mRNAs whose products are involved in iron metabolism. For example, the mRNA of ferritin (an iron storage protein) contains one IRE in its 5' UTR.  When iron concentration is low, IRPs bind the IRE in the ferritin mRNA and cause reduced translation rates.  In contrast, binding to multiple IREs in the 3' UTR of the transferrin receptor (involved in iron acquisition) leads to increased mRNA stability.

text: The two leading theories describe how iron probably interacts to impact posttranslational control of transcription. The classical theory suggests that IRPs, in the absence of iron, bind avidly to the mRNA IRE. When Iron is present, it interacts with the protein to cause it to release the mRNA. For example, In high iron conditions in humans, IRP1 binds with an iron-sulphur complex [4Fe-4S] and adopts an aconitase conformation unsuitable for IRE binding. In contrast, IRP2 is degraded in high iron conditions.[2] There is variation in affinity between different IREs and different IRPs.[3] Some IREs can also be affected by alternative gene splicing. In the second theory, There are two proteins competing for the IRE binding site—both IRP and eukaryotic Initiation Factor F4 (eIFF4). In the absence of iron IRP binds about 10 times more avidly than the initiation factor. However, when Iron interacts at the IRE, it causes the mRNA to change its shape, thus favoring the binding of the eIFF4.[4] Several studies have identified non-canonical IREs.[5] It has also been shown that IRP binds to some IREs better than others.[6]

text: The upper helix of the known IREs shows stronger conservation of structure compared to the lower helix. The bases composing the helixes are variable. The mid-stem bulged C is a highly characteristic feature (though this has been seen to be a G in the ferritin IRE for lobster).[7] The apical loop of the known IREs all consist of either the AGA or AGU triplet. This is pinched by a paired G-C and there is additionally a bulged U, C or A in the upper helix. The crystal structure and NMR data show a bulged U in the lower stem of the ferritin IRE.[8] This is consistent with the predicted secondary structure. IREs in many other mRNAs do not have any support for this bulged U. Consequently, two RFAM models[9] have been created for the IRE—one with a bulged U and one without.

text: Genes known to contain IREs include FTH1,[10] FTL,[11] TFRC,[12] ALAS2,[13]  Sdhb,[14] ACO2,[15] Hao1,[16] SLC11A2 (encoding DMT1),[3] NDUFS1,[17] SLC40A1 (encoding the ferroportin)[18] CDC42BPA ,[19] CDC14A,[20] EPAS1.[21] Many of these genes have clear and direct roles in iron metabolism. Others show a less obvious connection. ACO2 encodes an isomerase catalysing the reversible isomerisation of citrate and isocitrate.[22] EPAS1 encodes a transcription factor involved in complex oxygen sensing pathways by the induction of oxygen regulated genes under low oxygen conditions.[23] CDC42BPA encodes a kinase with a role in cytoskeletal reorganisation.[24] CDC14A encodes a dual-specificity phosphatase implicated in cell cycle control[25] and also interacts with interphase centrosomes.[26]

text: In humans, 12 genes have been shown to be transcribed with the canonical IRE structure, but several mRNA structures, that are non-canonical, have been shown to interact with IRPs and be influenced by iron concentration. Software and algorithms have been developed to locate more genes that are also responsive to iron concentration.[27]

text: The IRE is found over a diverse taxonomic range—mainly eukaryotes but not in plants.[28]


document_title: Gho

question_text: gho is a national dresser of which country

text: Gho

text: The gho or g'ô (Dzongkha: བགོ, IPA: [ɡ̊hoː˨])[1] is the traditional and national dress for men in Bhutan. Introduced in the 17th century by Ngawang Namgyal, 1st Zhabdrung Rinpoche, to give the Ngalop people a more distinctive identity, it is a knee-length robe tied at the waist by a cloth belt known as the kera (སྐེད་རགས་).[2][3][4] On festive occasions, it is worn with a kabney.

text: The government of Bhutan requires all men to wear the gho if they work in a government office or school. Men are also required to wear the gho on formal occasions. In its modern form, the law dates from 1989, but the driglam namzha dress code is much older.