a) The Disney movie selected for analysis is Cinderella.
b) The social institution in such movie is marriage.
c) Sociological perspective: Feminism.
Here is the analysis:
- In Disney's Cinderella, feminism, that is, the thought of equality between sexes, is not apparent. This approach takes roots in the movie's idea of a poor girl with a miserable life who dreams about a prince who marries her and takes her to his kingdom for "salvation" and, on the other hand, the prince falls in love with her only because she is pretty. But nowadays, feminism would ask: why does she need a prince to thrive in life when she is plenty and has plenty to make the effort to achieve her own progress?
- Another point for discussion is how do they fall in love in the first place: they barely know each other but, yeah, they are in love. So, the movie shows a "superficial love", since if Cinderella wasn't pretty, he would never love her back.
- Thus, the movie encourages little girls to aspire to find the other significant one and get married with a "him", instead of showing girls how to overcome themselves and afterwards, falling in love, because only if you fall in love with yourself, you can fall for someone else.
Answer:
The 3rd's name is respect or army
Hope this helps you
(P.s please give me brainlyest)
Explanation:
Ask me if you want it
Answer:
D it sounds like it came from a story
Explanation:
I read a lot
Answer:
i don't know sorry I can't help to finished the homework
A violent storm rages around a small ship at sea. The master of the ship calls for his boatswain to rouse the mariners to action and prevent the ship from being run aground by the tempest. Chaos ensues. Some mariners enter, followed by a group of nobles comprised of Alonso, King of Naples, Sebastian, his brother, Antonio, Gonzalo, and others. We do not learn these men’s names in this scene, nor do we learn (as we finally do in Act II, scene i) that they have just come from Tunis, in Africa, where Alonso’s daughter, Claribel, has been married to the prince. As the Boatswain and his crew take in the topsail and the topmast, Alonso and his party are merely underfoot, and the Boatswain tells them to get below-decks. Gonzalo reminds the Boatswain that one of the passengers is of some importance, but the Boatswain is unmoved. He will do what he has to in order to save the ship, regardless of who is aboard.
The lords go belowdecks, and then, adding to the chaos of the scene, three of them—Sebastian, Antonio, and Gonzalo—enter again only four lines later. Sebastian and Antonio curse the Boatswain in his labors, masking their fear with profanity. Some mariners enter wet and crying, and only at this point does the audience learn the identity of the passengers on-board. Gonzalo orders the mariners to pray for the king and the prince. There is a strange noise—perhaps the sound of thunder, splitting wood, or roaring water—and the cry of mariners. Antonio, Sebastian, and Gonzalo, preparing to sink to a watery grave, go in search of the king.
