cyanic-selkie/wikianc huggingface dataset:
Kairouan
History
In 893, throu the mission o Ubaydalla Said, the Kutama Berbers frae the wast o the kintra stairtit the muivement o the Shiite Fatimids. The year 909 saw the owerthrow o the Sunni Aghlabite that ruled Ifriqiya an the creation o the Shiite Fatimid dynasty. Durin the reign o the Fatimids, Kairouan wis neglectit an lost its importance as the new rulers residit first in Raqqada but suin moved thair caipital tae the newly biggit Al Mahdiyah on the coast o modren Tunisie. Efter succeedin in extendin thair rule ower aw o central Maghreb, an aurie consistin o the modren kintras o Morocco, Algerie, Tunisie an Libie, thay eventually moved east tae Egyp tae foond Cairo makin it the caipital o thair vast Caliphate an leavin the Zirids as thair vassals in Ifriqiya. Govrenin again frae Kairouan, the Zirids led the kintra throu anither airtistic, commercial an agricultural heyday. Schools an varsities flourisht, owerseas tred in local manufactures an farm produce ran hie an the courts o the Zirids rulers wur centres o refinement that eclipsed those o thair European contemporaries.
When the Zirids declared thair unthirldom frae Cairo an thair conversion tae Sunni Islam in 1045 bi givin allegiance tae Baghdad, the Fatimid Caliph Ma'ad al-Mustansir Billah sent as punishment hordes o troublesome Arab tribes (Banu Hilal an Banu Sulaym) tae invade Ifriqiya. Thir invaders sae utterly destroyed Kairouan in 1057 that it niver regained its umwhile importance an thair influx wis a major factor in the spread o nomadism in auries whaur agricultur haed previously been dominant. Some 1,700 years o intermittent but continual progress wis undone athin a decade as in maist pairt o the kintra the land wis laid tae waste for nearly twa centuries. In the 13t century unner the prosperous Hafsids dynasty that ruled Ifriqiya, the ceety stairtit tae emerge frae its ruins. It is anerlie unner the Husainid Dynasty that Kairouan stairtit tae fynd an honorable place in the kintra an throughoot the Islamic warld. In 1881, Kairouan wis taken bi the French, efter which non-Muslims wur alloued access tae the ceety.
Releegion
Judaism, nae langer prevalent in the ceety, haes an illustrious history in Kairouan, parteecularly in the early Middle Ages. Rabbeinu Chushiel, his son Rabbeinu Chananel, an R. Nissim Ben Jacob (R. Nissim Gaon) wur aw frae Kairouan an Rabbi Isaac Alfasi studied thare, as did mony ither great rabbis. Kairouan wis sicweys the first major centre o Jewish learnin ootside o Babylonie an Eretz Yisrael. In memory o Sufi saints, Sufi festivals are held in the ceety.
Pocahontas (1995 film)
Plot
Ratcliffe has Jamestown built in a wooded clearing and immediately has the crewmen dig for gold. Smith departs to explore the wilderness and encounters Pocahontas. They quickly bond, fascinated by ilk ither's worlds and develop a relationship, despite Powhatan's orders to keep away from the English after Kocoum and other warriors engage them in a fight. Meanwhile, Meeko meets Percy, Ratcliffe's dog, and becomes the bane of his existence. Pocahontas introduces Smith to Grandmither Willow and avoids two other crewmen, but Pocahontas's best friend Nakoma discovers her relationship with Smith and warns Kocoum. Later, Smith and Pocahontas meet with Grandmither Willow and plan to bring peace atween the colonists and the tribe. Smith and Pocahontas kiss, while Kocoum and Thomas witness from afar. Enraged, Kocoum attacks and attempts to kill Smith, but Thomas intervenes and kills Kocoum. Smith commands Thomas to leave just before the tribesmen come and capture Smith while Kocoum's body is taken away. Enraged, Powhatan declares war on the English, beginning with Smith's execution at sunrise. Pocahontas tries to convince her faither otherwise, but the chief refuses to listen, as he is very angry with Pocahontas for disobeying his orders to remain in the village.
Thomas warns the crewmen of Smith's capture, while Ratcliffe rallies his men to battle, using this as an excuse to annihilate the tribe and find their non-existent gold. A desperate Pocahontas visits Grandmither Willow, where Meeko hands her Smith's compass. Pocahontas realizes Smith's compass was the spinning arrow from her real life encounter, which leads her to her destiny. Just as Powhatan is about to kill Smith, Pocahontas stops him and convinces her faither to end the fighting atween the two groups. Both parties accept gracefully, except Ratcliffe, who tries to kill Chief Powhatan in anger, but wounds Smith instead when he protects the chief. Ratcliffe is then arrested by his crewmen. In the end, Smith is forced to return home to receive medical treatment, while Ratcliffe is also sent back to England to face justice for his crimes. He asks Pocahontas to come with him, but she chooses to stay with her tribe. Meeko and Percy, now friends, give Pocahontas her mither's necklace completely fixed. Smith leaves without Pocahontas and Powhatan's blessing to return in the future.
Cast
Three actors in the film have been involved in other Pocahontas-related projects. Gordon Tootoosis, who voiced Kekata the shaman, acted as Chief Powhatan in Pocahontas: The Legend, released the same year as this film. Christian Bale, who voiced Thomas, and Irene Bedard, who provided Pocahontas's speaking voice, would ten years later portray John Rolfe and Pocahontas's mither respectively in The New World.
Development
Following the release of The Rescuers Down Under, director Mike Gabriel was eager to collaborate on a vastly different follow-up project with veteran Disney story artist and character designer Joe Grant. They first partnered on an adaptation of Swan Lake for fower month with Grant typing up ideas, making small drawings, and then departing the studio with Gabriel staying behind to draw his visualizations. "We developed the story and plot for Swan Lake into written form, and Joe said this is exactly how Dick Huemer and he always worked," Gabriel stated. After the two submitted their outline to be green-lit for approval, it was returned as "the most amateurish, worthless nothing. There is no movie here, no story." Though their styles and sensibilities meshed well, a new project had yet to come thegither. During Thanksgiving weekend in 1990, Gabriel developed ideas of classic western legends such as Annie Oakley, Buffalo Bill, and Pecos Bill to adapt until he conceptualized the tale of Pocahontas. Pitching his idea at the Gong Show pitch meeting, Gabriel took a one-sheet colour image of Tiger Lily from Peter Pan and wrote the title Walt Disney's Pocahontas on it, and on the back, he taped a one-sentence pitch of "an Indian princess who is torn between her father's wishes to destroy the English settlers and her wishes to help them—a girl caught between her father and her people, and her love for the enemy." At the time, Feature Animation president Peter Schneider had been developing an animated version of Romeo and Juliet for many years and Gabriel's timely pitch had many of the same elements. "We were particularly interested in exploring the theme of 'If we don't learn to live with one another, we will destroy ourselves,'" recalled Schneider. Gabriel's pitch was quickly accepted becoming the quickest story turnaround in studio history.
Following the Best Picture nomination of Beauty and the Beast at the 64th Academy Awards and its subsequent loss in March 1992, then-studio chairman Jeffrey Katzenberg opted to produce another animated sweeping romantic epic in hopes of replicating another Best Picture nomination. With Aladdin and The Lion King too far into development, Katzenberg believed that Pocahontas had a chance, and pushed for the title protagonist to be older, the romance atween Pocahontas and Smith to be more adult, and for the animals to be mute. Head of Story Tom Sito went on the record stating he wanted to include more and broader jokes, but the "higher-ups wanted it more winsome, more gentle. Some of the folks were so concerned about political correctness, they didn't want to be cuckoo-wacky about it." Likewise, Eric Goldberg – following his work on Aladdin as the supervising animator for the Genie and with all of the animation units for The Lion King already occupied – was asked to co-direct Pocahontas with Gabriel, in which he agreed to and was gien a pitch of the film. Goldberg had expected the film to be more comedic and cartoonish like Aladdin, but Schneider told Goldberg that the film would be produced in the vein of Beauty and the Beast, and the ongoing Los Angeles riots in 1992 further inspired him to commit to the film because of its racial overtones. The executive interference would eventually grow ower muckle that Goldberg himsel worked under the pseudonym "Claude Raynes" for Chuck Jones Productions during production. Executive paranoia reached a peak when Joe Grant had drawn Percy wearing an Indian feather, by which the animators took the concept one step further by placing a Spanish ruff on Meeko. One executive exclaimed, "Animals don't have the intelligence to switch their clothes! They don't even have opposing thumbs." The animators would retain their concept for the film.
Under Katzenberg, Frank Wells, and Michael Eisner, the Disney studios began a correlation of hiring Broadway personnel to manage the Disney animation staff on their feature films that brocht such producers as Amy Pell to Aladdin and Sarah McArthur and Thomas Schumacher to The Lion King. For Pocahontas, Broadway stage manager, director, and producer James Pentecost was brocht onboard where he made his feature film debut as producer. In June 1992, the filmmakers embarked on a research trip to the Jamestown Settlement where Pentecost first met Shirley "Little Dove" Custalow-McGowan and Debbie "White Dove" Custalow, both descendants of the Powhatan Indians. The trip also included a visit to the Pamunkey Indian Reservation, and conducted interviews with historians at Old Dominion University. Following the research trip, Custalow-McGowan served as a consultant traveling to the Disney studios three times, and while Custalow-McGowan offered her services free, Disney paid her a $500 daily consulting fee plus expenses. Ultimately, when it came to light that historical accuracy was not being pursued to the extent she had hoped, McGowan has voiced her feelings of shame she felt in conjunction with her work on the film, saying, "[she] wish[ed her] name wasn't on it". Additional Native American consultants were brocht in to authenticate the clothing and war dance choreography. That same month, Katzenberg held a meeting with the Feature Animation staff in which he declared Pocahontas to be a hit, while the concept for The Lion King was deemed experimental. As a result, most of the animators of Walt Disney Feature Animation decided to work on Pocahontas instead, believing it would be the more prestigious and successful of the two.
Writing
In January 1993, Carl Binder joined the project, having previous expertise as a television writer on popular sitcoms such as Punky Brewster and television series such as War of the Worlds, Friday the 13th: The Series, and Top Cops. Fower month later, Susannah Grant (no relation to Joe Grant) and Philip LaZebnik joined the writing team. Grant hersel was selected by Disney as a screenwriter on Pocahontas after winning the Nicholl Fellowships in Screenwriting awarded by the Academy of Motion Picture Arts and Sciences the year before while still attending film schuil. Onboard as a screenwriter, she was only one of the many who was contributing the specific vision the upper management at Disney had in mind, and collaborated with Native American consultants. While working on the movie, Grant wrote to a specific story outline, and no scene was rewritten less nor thirty-five times until it was perfect.
Story supervisor Tom Sito, who became the project's unofficial historical consultant, did extensive research into the early colonial era and the story of John Smith and Pocahontas, and was confronted over the historical inaccuracies from historians. Already knowing that in reality Pocahontas married John Rolfe, Mike Gabriel explained it was felt that "the story of Pocahontas and Rolfe was too complicated and violent for a youthful audience" so instead, they would focus on Pocahontas's meeting with John Smith. The filmmakers discovered that Pocahontas was around twelve year auld and Smith was "not a very likeable character", and producer James Pentecost confessed that dramatic license was indeed to be taken. Likewise, when searching for an appropriate age for Pocahontas to begin her relationship with Smith, Glen Keane explained, "We had the choice of being historically accurate or socially responsible, so we chose the socially responsible side" by increasing Pocahontas's age from a girl into a young woman.
Sito mentioned that Joe Grant contributed heavily towards the film, as he was the creator of Redfeather, Meeko, and Flit. Redfeather was a wise-cracking turkey planning to be voiced by John Candy (Who previously voiced for Disney as Wilbur in The Rescuers Down Under, and Percy, who was to be voiced by Richard E. Grant, was revised to become mute. Following the death of John Candy in March 1994, co-screenwriter Susannah Grant decided the turkey was inappropriate for the script she co-wrote for Pocahontas, and a more realistic approach would have the animals pantomime instead of talking. Joe Grant stated Redfeather "had comic potential–he thought he was handsome, a lady's man. When we decided he couldn't talk, and, having no hands, he couldn't mime..." Grant would later draw a concept sketch of a hair-braiding raccoon, in which Glen Keane animated and claimed the directors "loved the idea and got rid of the turkey character." Likewise, according to Sito, Meeko was created because they were "naturally enigmatic, because they have little hands and a little mask over their face like a thief." Gabriel described the inspiration for Flit the hummingbird where "I have hummingbirds all over my backyard, [and] I thought, 'That's a great animal to animate.'" According to the directors, Governor Ratcliffe's pampered pet, Percy, was based on history as the royalty of the time often carried small pugs wherever they went.
For the spiritual ancestor, a male character named Old Man River was originally envisioned, and Gregory Peck was cast in the role. However, Peck realized the character ought to be a maternal figure and reluctantly turned down the role. Conceived as a Tree of Life whose seasonal changes would frame the story, Grandmither Willow grew out of a concept sketch of a sawed-off tree with a branch pointing to its right drawn by Grant, which would serve as a narrator that would "remember back to Pocahontas 300 years earlier". Grant would continue to protest to have the tree be more a character within the story, and her character flowered into the idea of a grandmitherly spiritual adviser to Pocahontas. Because of Katzenberg's opposition to having Grandmither Willow in the story, Grant assisted fellow veteran story artist Burny Mattinson with coming up tree puns such as "My bark is worse than my bite", "The roots of all problems", and "They're barking up the wrong tree." Mattinson reluctantly added them to his pitch for the next morning, and during the story meeting, he exclaimed, "Everybody loved it! All of a sudden: 'Oh, I want her in!' 'Let's build her part bigger!'" The character Nakoma was also created to serve as the voice of reason and the practical woman.
Casting
Throughout most of the production, the cast members performed their dialogue in separate recording sessions.
In September 1992, Disney began casting actors for Pocahontas telling talent agents that they were particularly interested in Native American actors for the project. For the role of Pocahontas, Broadway actress-singer Judy Kuhn was hired to provide the singing voice for the titular character before Irene Bedard was cast. Kuhn explained, "They said, 'You are going to do the dialogue unless we find a Native American actress whose singing voice matched yours.' I was cast before Irene, so it actually went backwards." Bedard hersel was filming Lakota Woman: Siege at Wounded Knee where she was informed by the casting director that they were looking for someone to voice the title role. According to Bedard, she took a train to Buffalo, New York where she was walked in wearing a sundress and a straw hat, and read for the part. Back on the set of Lakota Woman, she learned that she was cast in the role. Michelle St. John had also auditioned for the role of Pocahontas, and was gien the role of Nakoma after Bedard was cast.
Mel Gibson was cast as English settler John Smith following a desire to make "something for my kids." In a notable contrast to previous voice actors for Disney animated features, Gibson provided the singing voice for his character, which the actor has described as the most difficult part of his role. Christian Bale auditioned for the role of Thomas. As he explained in an interview with Disney Adventures, "the directors played with Thomas being Irish and Scottish and younger than I am, so I had to raise my voice and do different accents. But the more we did it, the more he became like me--older and English." Richard White, the voice of Gaston in Beauty and the Beast was supposed to voice Ratcliffe, but the crew was worried he might sound ower muckle like Gaston, so he was replaced by his co-star David Ogden Stiers. Russell Means also auditioned for a role, though he expressed displeasure with the script in that Native Americans addressed ilk ither using proper names rather than the traditional "my father" or "my friend". Native American actor Gordon Tootoosis was also cast as the tribal shaman Nekata.
Design and animation
Renowned for animating female characters such as Ariel, supervising animator Glen Keane was immediately tapped to draw the titular Indian princess. Following the demands of Jeffrey Katzenberg to make the title character "the most idealized and finest woman ever made", Keane first began to sought his inspirations for his depictions for Pocahontas from Shirley 'Little Dove' Custalow-McGowan and Debbie White Dove, women he had met during the research trip to Virginia. Keane recalled meeting the women, "So I turned around and there's this beautiful Indian woman walking up; a Native American. She said 'Are you Glen Keane? The animator that's going to do Pocahontas?' I said 'Well, yeah.' And then from behind another tree another woman came up and she said, 'Well, my name is Shirley Little Dove, and this is my sister Devi White Dove, and we are descended from Pocahontas.' And as they stood there, I mean I took a picture of both of them, and between their faces was Pocahontas' face in my mind – I could see her." Other inspirations were Charmaine Craig, Filipino model Dyna Taylor, Christy Turlington, Natalie Belcon, Naomi Campbell, Jamie Pillow, white supermodel Kate Moss, and her own voice actress Irene Bedard. Keane also looked to a 1620 depiction of Pocahontas from a history book he had checked out, though Keane would state she was "not exactly a candidate for People's "Most Beautiful" issue [so] I made a few adjustments to add an Asian feeling to her face." Because of the complexity of the color schemes, shapes, and expressions in the animation, a total of 55 animators worked on the design of Pocahontas' character alone, which included Mark Henn and Pres Romanillos.
Following the closure of Sullivan-Bluth Studios in 1993, John Pomeroy, who notoriously resigned alongside Don Bluth during work on The Fox and the Hound in 1979, returned to his former employer, and was assigned as the supervising animator of John Smith. Describing Smith's development throughout production, Pomeroy stated, "The first concepts looked like a real well-groomed adventurer. Kind of predictable. Then we started making him a little sloppier. We tried looks where he was sloppily dressed, or where he had a couple of days' growth of beard...At first, Smith carried a lot of guns and daggers, but eventually these were cut out. Each time the design got simpler, it got better." Additionally, Pomeroy cited inspiration for John Smith from Errol Flynn and physical attributes of Gibson. Initially assigned as a supervising animator on The Lion King, Nik Ranieri did character designs and test animation for Timon, but moved over to Pocahontas growing frustrated with an indecisive vision from the directors. There, he was assigned to animated Redfeather until Jeffrey Katzenberg ordered for the animals to be mute. Finding feathers difficult for Redfeather to gesture with, he was again assigned to animate Meeko using a Little Golden Books animal book illustrated by Alice and Martin Provensen as reference. Animating Chief Powhatan in Florida, Ruben Aquino modeled his facial structure after Means, and stylized the animation after J.C. Leyendecker as were Pocahontas and John Smith. Duncan Marjoribanks utilized geometric shapes to create Ratcliffe. In early drafts of the character, he had the body similar to a peir, but to make him appear more arrogant, the animator increased the force of gravity on his chest so that he seemed more pompous and physically threatening. Chris Buck served as the supervising animator for Percy, Wiggins, and Grandmither Willow. For Grandmither Willow, the face was traditionally animated by Buck, while the cowl and the trunk of the tree was digitally animated under the supervision of Steve Goldberg. Assisted with the effect animators, a 3D software program was employed for the bark to be individually manipulated and for the face to match with the computer-generated texture. The following supervising animators included Anthony DeRosa for Nakoma, Michael Cedeno for Kocoum, Ken Duncan for Thomas, T. Daniel Hofstedt for the settlers Lon and Ben, and Dave Pruiksma for Flit. While Mulan was within its pre-production stages, 18 minutes were animated by 170 animators and artists at the Disney-MGM Studios.
For the film's art director, Gabriel selected Michael Giamio who shared his painting style of shape-based and secondary art details. For Giaimo, he relied on a colour-saturated, elegant designs in a less-than-realistic format inspired by "prehistory Caribbean themes and creatures derived from African/Mexican folk art." Giamio also drew the look and style of the film from the filmmaker's numerous visits to Jamestown, Virginia as well as by extensive research into the colonial period such as the tall, vertical shapes of the Virginian pine forests set against the vast horizontal landscapes being incorporated into the layout aspect of the film in its use of strong vertical and horizontal imagery, as well as sought out inspiration from the works produced by earlier Disney art designers such as Richard Kelsey's story sketches from his unproduced film Hiawatha, Eyvind Earle, who worked on Sleeping Beauty, and Mary Blair.
Music
Howard Ashman and Alan Menken were planning to write songs for this film once they were finished working on Aladdin, but Ashman died in 1991. Following the death of his longtime collaborator, Menken wrote the remaining songs for Aladdin with Tim Rice at his home in London, in which the New York-based composer found to be difficult. When work on Aladdin was commenced, Menken was planning to write songs for the film with Rice. But Kevin Bannerman – the film's director of development – stated Rice "was always gallivanting around the world and it was difficult to get him and Alan together ... And so here was Stephen [Schwartz], who had written scores that we all loved and we were huge fans of, and he lived in the New York area." Disney immediately contacted Stephen Schwartz – whom working on Working, Rags, and Children of Eden had quit theater and was taking psychology courses at New York University – and was brocht onboard to write the lyrics. This would mark the first time Menken had collaborated without Ashman for a Disney animated film. Menken commented that their work included moments of tension because Schwartz is also capable of writing music and Menken has had experience with lyrics. Both wanted to use the keyboard, but they arrived at a working strategy.
Due to corporate interest in the film surrounding its theme of promoting understand atween different groups, and its inclusion of violence and threats of greater conflict and the romance of Pocahontas and John Smith, Schwartz became heavily involved in the storytelling. Bannerman estimated that he spent a week with one of the screenwriters and helped work out the overall themes of tolerance and cooperation. In June 1992, Schwartz researched Jamestown, Virginia where he absorbed the atmosphere and bought tapes of Native American music and English sea shanties and other music from the early seventeenth century that helped inspired numbers in the film. Schwartz modeled his lyrical writing for people of other ethnicities on that of Oscar Hammerstein II and Sheldon Harnick. "Colors of the Wind" was the first song to be written for the film. Gabriel, Goldberg, and Pentecost insisted that the song helped define the film's "heart and soul". Schwartz began "Colors" with a few draft ideas for lyrics taking inspiration from Chief Seattle's letter to the United States Congress. Then, Menken wrote the melody with Schwartz listening at the piano and making suggestions. Schwartz would add lyrics before a session thegither where they were refined. "Just Around the Riverbend", also composed by Menken and Schwartz, was devised by Schwartz's wife Carole where Pocahontas would have a recurring dream that suggests something coming her way paving the way for her "I want" song. The song almost did not make it into the completed film when Disney executives doubted whether her song would have the kind of impact they wanted at that point. However, Schwartz stated he and Menken "believed in it very strongly. Indeed, at one point we wrote a different song for that spot, but Alan and I were never as happy with the second song and ultimately everybody at Disney came to feel that way, too."
The filmmakers had planned for a song for when Pocahontas and Smith met in the glade, just before Kocoum attacks his rival and one of the settlers stalking Smith kills Kocoum. There were an estimated three to four songs at this point, including "In the Middle of the River", "Powerful Magic", which was deemed too silly to have a cheerful song before Kocoum's death, and "First to Dance" was another attempt at a happy song. The love song, titled "If I Never Knew You", had been finished by the animators, but following a test screening where younger audiences were not interested and the teenagers felt giddy, Menken was the first to suggest the song be removed from the film, although its melody remained in the orchestral underscoring. For its 2005 DVD release, the song was restored back to the film.
The musical score by Alan Menken, with lyrics by Stephen Schwartz, received two Academy Awards, including one for the song "Colors of the Wind". The film's soundtrack was also successful, reaching number-one on the Billboard 200 during the week of July 22, 1995. It ended up with a triple platinum certification. "Colors of the Wind" was also sung by Tori Kelly in 2015 in the album "We Love Disney".
Marketing
To replicate the promotional buzz of The Lion King, the four-minute musical number, "Colors of the Wind", was released in November 1994, accompanying a theatrical re-release of The Lion King. On February 3, 1995, Disney began its promotional marketing campaign starting in San Diego, California launching a nationwide 18-week tour of fashion malls located within twenty-five cities where a mall exhibit named Pocahontas Animation Discovery Adventure was created to help promote the release. There, a Disney animator would guide shoppers on a presentation tour, which featured a walk-through maze with interactive lily pads, flying birds, and huge video wall, a studio workshop where visitors can become the voice of their favorite animated character, and an area where visitors can electronically manipulate images. Additionally, they would demonstrate animation techniques and discuss the design and creation of the Pocahontas character. Further promotional tie-ins included Burger King distributed 55 million toy replicas of the film's characters with kids' meals, Payless Shoes featured a line of moccasins, and Mattel peddled a Barbie-like Pocahontas doll.
A behind-the-scenes documentary television special titled The Making of Pocahontas: A Legend Comes to Life was aired on June 20, 1995, on the Disney Channel where the animators, voice cast, crew, and studio heads were interviewed on the production of the film. The special was hosted by actress Irene Bedard.
The film had the largest premiere in history, on June 10, 1995, in New York's Central Park, followed by a live performance by Vanessa Williams. Disney officials estimated the crowd at 100,000. Dignitaries that attended the premiere included then-New York Mayor Rudy Giuliani, Caroline Kennedy, Mariah Carey and then-Disney Chief Executive Officer Michael Eisner.
Box office
Timed with Pocahontas' 400th birthday, Pocahontas had a limited release in North America on June 16, 1995, playing in only six selected theaters. The film grossed nearly $2.7 million during the weekend of June 16–18, standing at the eighth place in the box office ranking. The wide release followed on June 24, 1995, in 2,596 screens. Studio estimates initially ranked Pocahontas earning $30.5 million ranking first beating out the previous box office champion Batman Forever. The figure was later revised to $28.8 million with Pocahontas falling second behind Batman Forever. However, the final estimates placed Pocahontas narrowly ranking first grossing $29.5 million in its first weekend with Batman Forever falling into second place taking $29.2 million. By January 1996, the film grossed $141.5 million in the United States, being the fourth-highest-grossing film in North America behind Apollo 13, Toy Story, and Batman Forever respectively. Foreign wise, the film was expected to gross $225 million outside the United States, though foreign box office grosses eventually amounted to $204,500,000. Cumulatively, Pocahontas grossed $346,079,773 worldwide. Seen as a commercial box office disappointment in comparison to The Lion King, then-Disney CEO Michael Eisner contested in an annual shareholders' meeting in January 1996 that "Pocahontas is well on its way to being one of our most successful films of all time. It equalled [sic] Beauty and the Beast's box office numbers domestically, and now it has taken Europe by storm and is playing well in every country in which it is being shown. Sales of Pocahontas merchandise have been phenomenal."
Home media
At first announced to be released on March 6, 1996, Pocahontas was first released on VHS and laserdisc in the United States on February 28, 1996, under the "Masterpiece Collection" lineup. Some prototype copies of the VHS release used the 1989 Walt Disney Classics logo, while copies produced from February 28, 1996, onwards used the standard Masterpiece Collection logo. A deluxe VHS edition included the film and a documentary on the making of the film alongside a special edition of The Art of Pocahontas book and Disney-certified lithograph prints. Released on November 13, 1996, the CAV laserdisc Deluxe Edition contained the film, a historical documentary on Pocahontas, and The Making of Pocahontas, along with added storyboards, character design artwork, concept art, rough animation, publicity and promotional trailers, the deleted "If I Never Knew You" musical sequence, and an audio commentary on a total of four double sided discs. The release was also accompanied with a Special Edition of the Art of Pocahontas book. Disney initially shipped 17 million VHS copies to retail stores, with nine million copies sold within its first weekend exceeding the VHS sales of Cinderella released in the previous fall but falling short of the retail sales of The Lion King. By the summer of 1998, sales and rentals of the VHS release had accumulated to $200 million.
In January 2000, Walt Disney Home Video launched the Gold Classic Collection, with Pocahontas re-issued on VHS and DVD on June 6, 2000. The DVD contained the film in its 1.66:1 aspect ratio enhanced with 5.1 surround sound, and was accompanied with special features including two music videos, a trivia game, the theatrical trailer, and a "Fun with Nature" activity booklet. In 2005, a 10th Anniversary 2-disc Special Edition DVD set was released, which featured a new extended cut of the film (adding two performances of "If I Never Knew You") and numerous bonus features.
Tlemcen Province
Tlemcen (ولاية تلمسان) is a province (wilaya) in northwastren Algerie. The Tlemcen National Park is locatit there.
Pocahontas (1995 film)
Home media
Walt Disney Studios Home Entertainment released Pocahontas, alongside its sequel Pocahontas II: Journey to a New World, on Blu-ray Disc as a 2-Movie Collection on August 21, 2012. In a number of countries, however, both Pocahontas and its sequel were released individually to the format. The Blu-ray was first released in Australia in February 2012 and followed by a May 30 European release and an August 21 American release. The American release is packaged for 2-disc DVD (one film per disc) and 3-disc Blu-ray combo pack, featuring both films on one Blu-ray in addition to the two individual DVDs. The Blu-ray did not retain the inclusion of "If I Never Knew You" through seamless integration, however, only the special features.
Pocahontas was re-released yet again in 2016 as a Blu-Ray, DVD and Digital HD combo pack, available exclusively through the Disney Movie Club. It featured brand-new cover art, and, for the first time, a digital copy download of the film alongside the physical release.
Tlemcen Province
Admeenistrative diveesions
The province is dividit intae 20 destricts (daïras), which are further dividit intae 53 communes or municipalities.
Pocahontas (1995 film)
Critical response
Pocahontas received generally mixed reviews from film critics. The review aggregation website Rotten Tomatoes reports that 56% of critics gave the film a positive review based on 52 reviews, with an average score of 6/10. The site's consensus states "Pocahontas means well and has moments of startling beauty, but it's largely a bland, uninspired effort, with uneven plotting and an unfortunate lack of fun." Metacritic, which assigns a normalized rating out of 100 from top reviews from mainstream critics, calculated a score of 58 based on 23 reviews, indicating "mixed or average reviews."
Roger Ebert, writing for the Chicago Sun-Times, gave the film 3 out of 4 stars writing the film was "the best-looking of the modern Disney animated features, and one of the more thoughtful" though in his print review, he was more critical of the story and portrayal of the villain ultimately summarizing that "on a list including Mermaid, Beauty, Aladdin and Lion King, I'd rank it fifth. It has a lot of good intentions, but a severe scoundrel shortage." On the television program Siskel & Ebert, Ebert repeated the same sentiment, while his partner Gene Siskel was more praising of the film. Both critics gave the film a "Thumbs Up". In his print review for the Chicago Tribune, Siskel awarded the film 3½ of 4 stars commenting that the film is a "surprisingly serious, thoughtful and beautifully drawn Disney animated feature about the American birthright of exploitation and racism". He praised it for "sending powerful images to children about threats to the natural order", restoring "a certain majesty to the Indian culture", and for having "the courage that leads to the life-goes-on ending."
According to Chief Roy Crazy Horse of the Powhatan Renape Nation, the film "distorts history beyond recognition" and "perpetuates a dishonest and self-serving myth at the expense of the Powhatan Nation.". Roy claims that Disney refused the tribe's offers to help create a more culturally and historically accurate film. An editorial in the Los Angeles Times pointed out America's fascination with the Indian princess who was rarely shown as having anything more important in her life than her male relationships.
Cornel Pewewardy argues that the film presents damaging stereotypes of the Native American population. Pewewardy feels that the representation of Native characters, like Grandmither Willow, Meeko, and Flit, as animals, has a marginalizing effect. Also, Kocoum and John Smith go head to head in the film fighting for Pocahontas' affection. It has been argued that Smith's victory over Kocoum in this arena is symbolic of Western Europe's domination of the Americas and the white man's domination over men of colour. The lyrics of the song "Savages", in which the English and the Native Americans each accuse the other culture of being evil and subhuman, has been called insensitive by Peweardy.
Video game
A video game based on the film was released on the Sega Genesis/Mega Drive on January 1, 1996.
Verishen
Verishen (Վերիշեն) is a veelage an rural commonty (municipality) in the Syunik Province o Armenie. The Naitional Statistical Service o the Republic o Armenie (ARMSTAT) reportit its population wis 2,532 in 2010, up frae 2,314 at the 2001 census.
Misilmeri
Misilmeri (Sicilian: Musulumeli) is a town and comune in the province o Palermo, Sicily, Italy. It is approximately 15 km frae Palermo an its name means "the restin place or the messuage o the Emir", an dates frae the Muslim emirate o Sicily age. The veelage rose aroond a castle (the day kent as Castello dell'Emiro, or "Castle o the Emir") foondit bi emir Jafar II (998-1019).
Beit Shemesh
Beit Shemesh (, بيت شيمش; Βαιθσαμυς; Bethsames) is a ceety in Israel's Jerusalem Destrict, wi a population o in. Beit Shemesh haes been inhabitit syne pre-biblical times. The modren ceety o Beit Shemesh wis foondit in 1950.
Antiquity
Several important an unique archaeological discoveries hae been made in recent digs at the tel. The maist auncient iron wirkshop in the warld wis discovered here in 2003. The anerlie remnants o a fortified ceety wi an advanced watter seestem, frae the time o the early Kinrick o Judah wis foond here. In aw layers frae this period, the bones o ainimals wur aw o kosher ainimals, in contrast tae nearbi auncient fortresses an settlements o that period sic as Maresha, Azeka or Lachish, suggestin an early Jewish settlement an advanced kinrick in the early biblical "keengs" period.
Durin the destruction o Judea bi the Babylonians, the waterwirks o Beit Shemesh wur sealed an covered, an wur no uncovered till 2004. Sicweys durin the first Jewish return, kent as the Seicont Temple period, thare wis nae revival o the ceety, as opposed tae mony ither places in the vicinity sic as Beit Guvrin, Maresha, an ithers. Consequently, the sma touns o Dayr Raban an Dayr Rafat haed uised seicontar rocks for biggin, frae this vera auncient soorce. An aa foond nearbi is a prehistoric Megalith circle, probably the structur responsible for the name Beit Shemesh.
Biblical references
Beit Shemesh is first mentioned in the Beuk o Joshua 15 as a ceety in the territory o the tribe o Judah on the mairch atween thair territory an that o the tribe o Dan. Later in Joshua 21 Beit Shemesh is mentioned as haein been set aside a ceety for the priests o the tribe o Levi, the Kohanim. The ceety is mentioned notably in chapter 6 o the beuk o Samuel I as bein the first ceety encoontered bi the ark o the covenant on its wey back frae Philistie efter haein been captured bi the Philistines in battle. In the beuk o Keengs II, Beit Shemesh is again mentioned as bein the site o the battle atween Amaziah keeng o Judea an Jehoash keeng o Israel.
1948 War
Durin the 1948 war o unthirldom, the Egyptian airmy invadit the aurie an set up a fortified post ("Mishlat") on the hill that wad later acome Beit Shemesh. The post chynged haunds several times durin fechtin. The Harel Brigade occupied pairt o the post for several months givin rise tae the name "the joint post" or the "Mishlat HaMeshutaf" wi 60 meters dividin them an the enemy forces. The Mishlat wis finally taken bi the Harel force in the "HaHar" offensive durin the nicht o 19–20 October 1948.
Beit Shemesh is the pynt frae which the famous Convoy of 35, or Lamed Heh, set oot tae relieve the besieged Gush Etzion. On 15 Januar 1948 a group o 38 Palmach volunteers set oot frae the Hartuv aurie near Beit Shemesh. Suin efter thay set oot, ane o the sodgers sprained his ankle an the convoy o 35 continued on towards the besieged kibbutzim. Thair presence wis discovered efter thay met wi an Arab shepherd an thay wur aw killed in an ensuin battle.
State o Israel
On December 6, 1950, the Hartuv displaced bodys camp "Ma'abarat Har-Tuv" wis established on the site o the current-day Moshav Naham. The first indwallers wur Jewish Bulgarian immigrants. Thay wut jynt bi mair Jewish immigrants frae Bulgarie, Iran, Iraq, Romanie, Morocco an Kurdistan. In 1952 the first permanent hooses wur biggit in Beit Shemesh. Prior tae 1948 the Ramat Beit Shemesh neighborhuid aurie wis the site o the Arab veelage Beit Natif. This veelage wis biggit on remnants o an auncient Judean toun, wi various remnants o Jewish settlement frae the time, sic as a mosaic floor, wineries an ither remains, especially frae the period o the Hasmonean keengs an earlier. This aurie is currently unner dispute aboot preservation, haein been subject o a grassroots campaign.
In its early years, Beit Shemesh came tae typify the "Development Toun" wi a largely North African immigrant population. In 1977, follaein a writeup in Haaretz newspaper, Beit Shemesh wis perceived as the main ootpost for Menachem Begin's Likud pairty. He promised tae rehabilitate neighborhuids an when Likud came tae pouer that year, investment in the ceety increased.
Wi the lairge-scale immigration frae the Soviet Union in the 1990s, new neighborhuids wur biggit at an acceleratit rate in the ceety as the population grew rapidly. Ane parteecular group who settled in Beit Shemesh wis made up o Jews who haed convertit tae Judaism in twa veelages twa centuries prior, an kept the releegion in secret unner the Soviet regime. An aa in the 1990s, a lairge nummer o Ethiopian Jews stairtit arrivin in Beit Shemesh thegither wi affluent new immigrants frae Inglis speakin kintras. Later, in 2002, a lairge congregation o Ethiopian Jews o the Falashmura reached Beit Shemesh.
In the 1990s, new neighborhuids wur biggit: Nahala UMenucha, a Haredi neighborhuid, Ramat Beit Shemesh Alef an Ramat Beit Shemesh Bet, which doubled the size o the ceety. In 2002, follaein tensions atween the Haredi an non-releegious population, plans wur drawn up tae big anither secular neighborhuid, HaShachar, as a separate ceety. Wirk began at the entrance tae Ramat Beit Shemesh, but acause o legal problems an a continued dispute ower the population o this new ceety, the plan wis abandoned.
Demographics
Accordin tae CBS, in 2003 the ethnic makeup o the ceety wis 100.0% Jewish an ither non-Arab, wi nae significant Arab population. See Population groups in Israel. In 2005, thare wur 32,900 males an 33,000 females. The population growthe rate in 2005 wis 6.4%.
In recent years, thare haes been a dramatic increase in the nummer o Inglis speakin Israelis who hae moved tae Beit Shemesh. Considerable nummers hae come frae North Americae, the Unitit Kinrick, Sooth Africae an Australie. This population tends tae be Orthodox, educatit an frae middle income groups. The main auries o "Anglo" settlement are the Dolev aurie o RBS, Sheinfeld, Nofei Aviv an Migdal HaMayim. The Anglo immigration wave haes seen real estate prices skyrocket in Beit Shemesh in general, an in the Anglo neighborhuids in parteecular.
Sports
Beit Shemesh is hame tae numerous sports clubs aw unner the main sport associations (Beitar, Hapoel, an Maccabi). The ceety haes soccer teams includin juniors seniors an ower-35s teams an an' a' boastit a franchise in the Israel Baseball League. The Beit Shemesh Blue Sox representit Beit Shemesh in the league's ae saison, tho thay played thair gemmes at Gezer Field in Kibbutz Gezer due tae a lack o proper facilities in Beit Shemesh. Thare is an aa a vera active Little League in Beit Shemesh an Ramat Beit Shemesh, wi ower 300 members. In the field o judo, Elitzur Beit Shemesh haes wan mony prizes. Israel Kung Fu an warld Nunchaku champion (2001) Eli Ivgi wis born in an lives in Beit Shemesh.
Sooth Shetland Islands
The Sooth Shetland Islands are a group o Antarctic islands, lyin aboot 120 km north o the Antarctic Peninsula, wi a tot aurie o 3687 km2.
L'Hospitalet, Alpes-de-Haute-Provence
L'Hospitalet is a commune in the Alpes-de-Haute-Provence depairtment in sootheastren Fraunce.
Delta
Delta commonly refers tae:
Auchencairn
Auchencairn is a veelage in the historical coonty o Kirkcoubrieshire the Dumfries an Gallowa region o Scotland. It is locatit on the coast o the Solway Firth at the heid o Auchencairn Bay an lies on the A711 road atween the toun o Dawbeattie til the east an Kirkcoubrie til the wast.
Etymology
The name Auchencairn comes fae the Scots Gaelic achadh an càirn or achadh nan carn that translates as "the field o the cairn".
Services
Faceelitys available in Auchencairn includes:
History
Thare is evidence o human wonin o the aurie syne the Mesolithic speal, bit the first written record o Auchencairn occurs fae 1305 in a chairter o Keeng Edward I o England that 'Aghencarne' is leetit in amang launds belangin tae Dundrennan Aibey. In the early 17t century the veelage growed aroond the corn mill, an mony o the aulder stane biggins in the veelage date fae this time.
The novelle-writer Elizabeth Gaskell (1810-1865) spent a month here in 1851 bidin at Torr House leukin ower the bay.
Robert de Bruce Trotter MB LRCPE LRCPSG (1833-1907) wis a 19t century Scots physeecian myndit as an author an poet. His principal wirks is Galloway Gossip: Sixty Years Ago (1877) and Galloway Gossip: The Southern Albanich Eighty Years Ago (1901).
The faur ben Wickerman Pop Festival wis haudit here on laund awnt bi local laundawner Jamie Gilroy that dee'd in 2014. The end o ilk fest wad end wi the burnin o a gey muckle wicker-mannie feegur. The fest teuk its name fae the cult pictur The Wicker Man starnin Edward Woodward an Christopher Lee that wis filmt on location in the aurie in 1972.
The Rerrick Poletergeist
Accordin til a tract first publisht bi local meenister Alexander Telfair in 1696, a ferm cried The Ring-Croft o Stockin bade in bi the faimily o stanemason Andrew MacKie wis the site o meesterious occurins sic as stanes bein thrawn, cattle bein muived, faimily members being beaten an draigit, an notes fund written in bluid. Telfair wrate that neebours wis hitten bi rocks an beaten bi staves, an that he haed seen an felt a ghaistly airm that quickly vainisht. In the tract, Telfair descrieved things he hid considert "to have been the occasion of the Trouble", includin MacKie jaloused tae takkin an aith tae devote his first child til the Deil, claes left in the hoose bi a "wumman o ill repute", an failin tae burn a tuith unner the doorstane bi a foregane tenant advised bi a spaewife. Accordin til the story, efter Telfair an several ither clergymen said prayers at the ferm, the tribble eventual subsidit.