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Journal articles on the topic 'Charlie and the Chocolate Factory'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Yermilova, Nonna Borisovna. "Screen Version of «Charlie and the Chocolate Factory» as an Example of Literary Work's Visualization." Journal of Flm Arts and Film Studies 6, no. 2 (June 15, 2014): 52–61. http://dx.doi.org/10.17816/vgik6252-61.

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Complexities of literary work's transferring on the screen are discussed in the article as exemplified by Roald Dahl's fairy tale's two screen versions: "Willy Wonka the Chocolate Factory" (1971, directed by Mel Stuart) and "Charlie and the Chocolate Factory" (2005, directed by Tim Burton). The article is published to the 50th anniversary of Roald Dahl's fairy tale's release.

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2

Gutiérrez, Ismael Gómez. "Learning by Doing with the Chocolate Factory." Proceedings 2, no. 21 (October 29, 2018): 1321. http://dx.doi.org/10.3390/proceedings2211321.

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The idea of working on a Project based on the work of “Charlie and the Chocolate Factory” by Roald Dahl, arose for several reasons. The centenary of the writer was celebrated and it was a great opportunity to do it. One thing we can not forget is the interests of the students. Specifically my class is a 1st of Primary and their eyes were illuminated with everything related to chocolate and the world of Willy Wonka.

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3

Bieliekhova, Larysa, and Alla Tsapiv. "Cognitive Play Model of Narration “Quest” in Roald Dahl’s Fairy Tale Charlie and the Chocolate Factory." PSYCHOLINGUISTICS 25, no. 2 (April 18, 2019): 11–30. http://dx.doi.org/10.31470/2309-1797-2019-25-2-11-30.

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The article focuses on reconstruction and analysis of the model of narration “Quest” in Roald Dahl’s fairy tale Charlie and the Сhocolate Factory. A narrative text is considered as a unit with semantic and communicative completeness. It is claimed that the elements of the narrative structure are narrator, narratee, the story (which includes the plot and its composition, fiction characters) and the model of narration. It is assumed that model of narration is a cognitive and linguistic construal, inbuilt into the narrative structure of the text. It is believed that play tenet forms the background of the model of narration of the fairy tale Charlie and the Сhocolate Factory. The model of narration determines a definite plot and composition, a certain type of narrator and narratee. The semantics of search is realized in the plot – the search of the Golden ticket, the search of the secrets of the chocolate factory, overcoming the obstacles. Characters of the fairy tale are quest participants. Four of them personify simulacrums of modern society (Bodriyar) – greed and gluttony (Augustus Gloop), parent’s permissiveness (Veruca Salt), uncontrolled TV watching (Mike Teavee), vanity (Violet Beauregarde). The fifth quest participant Charlie Bucket embodies modesty and honesty. The narrator of the fairy tale tells the story from the point of view a didactic adult, who criticizes pseudo values of the characters and supports honesty of the main hero Charlie. The narrator as if teaches the implied child reader through the quest-game what is true and what is simulacrum. The winner of the quest becomes Charlie and other participants fail the quest because of their uncontrolled behavior.

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4

Bosmajian, Hamida. "Charlie and the Chocolate Factory and Other Excremental Visions." Lion and the Unicorn 9, no. 1 (1985): 36–49. http://dx.doi.org/10.1353/uni.0.0113.

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5

Eplett, Layla. "For Oompa-Loompas, Orange Was the New Black." Gastronomica 16, no. 2 (2016): 12–17. http://dx.doi.org/10.1525/gfc.2016.16.2.12.

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For some, Roald Dahl's Charlie and the Chocolate Factory is a story made of pure imagination. For others, it is emblematic of colonial ideology since the Oompa-Loompas were originally depicted as African pygmies. This article explores the inspiration, interpretation, and revisions of the classic story and looks at its appropriateness within children's literature.

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6

Pratama, Bovis Narendra, and Gabriel Fajar Sasmita Aji. "WILLY WONKA’S NARCISSISTIC PERSONALITY IN ROALD DAHL’S CHARLIE AND THE CHOCOLATE FACTORY." Journal of Language and Literature 17, no. 1 (April 1, 2017): 36–48. http://dx.doi.org/10.24071/joll.2017.170105.

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7

Martín Ortiz, Patricia. "Roald Dahl entre bambalinas y ose abre el telón: Charlie y la Fábrica de Chocolate . La dramatización como recurso para la enseñanza de la lengua inglesa." Papeles Salmantinos de Educación, no. 21 (January 1, 2017): 133–42. http://dx.doi.org/10.36576/summa.47473.

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El propósito de este escrito es presentar una propuesta de dramatización como recurso para la enseñanza de la lengua extranjera elaborada en torno a la obra de Charlie and the Chocolate Factory de Roald Dahl con motivo del centenario de su nacimiento, llevada a cabo con los alumnos de la Mención de Inglés de la Escuela de Educación y Turismo de Ávila de la Universidad de Salamanca.

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8

Hyunju Lee and 선휘준. "A Study on Zhuangzi's Thought in the Film, Charlie And The Chocolate Factory." A Journal of Brand Design Association of Korea 10, no. 3 (September 2012): 323–32. http://dx.doi.org/10.18852/bdak.2012.10.3.323.

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9

Kapkova, Svetlana Yu. "MEANS OF REPRESENTING ECCENTRICITY OF THE SWEETS NAMES IN THE FAIRY TALE “CHARLIE AND THE CHOCOLATE FACTORY” BY R. DAHL." Bulletin of the Moscow State Regional University (Linguistics), no. 1 (2020): 88–94. http://dx.doi.org/10.18384/2310-712x-2020-1-88-94.

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10

Karimnia, Amin, and Nastaran Heydari Gheshlagh. "Investigating Culture-Specific Items in Roald Dahl’s “Charlie and Chocolate Factory” Based on Newmark’s Model." International Journal of Research in English Education 5, no. 2 (June 1, 2020): 1–12. http://dx.doi.org/10.29252/ijree.5.2.1.

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11

Hissan, Wan Syakira Meor. "AN ANALYSIS OF THE CHILDREN’S CHARACTERS IN ROALD DAHL’S NOVEL: CHARLIE AND THE CHOCOLATE FACTORY." Indonesian Journal of Applied Linguistics 2, no. 1 (July 15, 2012): 82. http://dx.doi.org/10.17509/ijal.v2i1.107.

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12

Billsberry, Jon, and Louise H. Gilbert. "Using Roald Dahl's Charlie and the Chocolate Factory To Teach Different Recruitment and Selection Paradigms." Journal of Management Education 32, no. 2 (September 24, 2007): 228–47. http://dx.doi.org/10.1177/1052562907312980.

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13

Beck, Bernard. "It Takes an Exorcist: Charlie and the Chocolate Factory, Brat Camp, and the War Against Children." Multicultural Perspectives 8, no. 2 (July 2006): 25–28. http://dx.doi.org/10.1207/s15327892mcp0802_5.

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14

Rudd, David. "Adaptable, Edible, Oedipal? The His-Story of Dahl’s Charlie and the Chocolate Factory and its Adaptations." Children's Literature in Education 51, no. 3 (May 6, 2019): 374–91. http://dx.doi.org/10.1007/s10583-019-09386-5.

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15

Pratama Hadju, Anang Viki. "Kecenderungan Kecemasan Neurotik Willy Wonka dalam Novel Charlie and The Chocolate Factory Karya Roald Dahl." Madah: Jurnal Bahasa dan Sastra 9, no. 1 (April 27, 2018): 73. http://dx.doi.org/10.31503/madah.v9i1.701.

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Penelitian ini menggunakan konsep psikoanalisis karena adanya kecenderungan kecemasan neurotik pada karakter utama di Charlie and The Chocolate Factory, sebuah novel karya Roald Dahl. Studi ini mengkaji karakter kepribadian Willy Wonka sebagai tokoh utama yang mengarah pada kecemasan neurotik yang dipengaruhi oleh tiga sistem kepribadian, yaitu id, ego, dan superego. Tujuan dari penelitian ini untuk mengetahui aspek apa saja yang membuat Willy Wonka mengalami kecemasan neurotik dan tindakan yang dilakukan untuk meminimalkan rasa kecemasan tersebut. Hasil penelitian ini memperlihatkan bahwa Willy Wonka mengalami rasa cemas, gugup, dan panik akibat pengalaman traumatis sejak dulu. Oleh sebab itu, Willy Wonka sengaja mengadakan kompetisi sebagai bentuk alasan bagi mekanisme pertahanan dirinya untuk berpikir mencari cara terbaik dalam mengurangi kecemasannya sementara waktu. Penelitian ini diharapkan dapat memberikan kontribusi terhadap pemahaman pikiran manusia dan objek signifikansi antara sastra dan kondisi psikologis.

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Pratama Hadju, Anang Viki. "Kecenderungan Kecemasan Neurotik Willy Wonka dalam Novel Charlie and The Chocolate Factory Karya Roald Dahl." Madah: Jurnal Bahasa dan Sastra 9, no. 1 (April 27, 2018): 73. http://dx.doi.org/10.26499/madah.v9i1.701.

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Penelitian ini menggunakan konsep psikoanalisis karena adanya kecenderungan kecemasan neurotik pada karakter utama di Charlie and The Chocolate Factory, sebuah novel karya Roald Dahl. Studi ini mengkaji karakter kepribadian Willy Wonka sebagai tokoh utama yang mengarah pada kecemasan neurotik yang dipengaruhi oleh tiga sistem kepribadian, yaitu id, ego, dan superego. Tujuan dari penelitian ini untuk mengetahui aspek apa saja yang membuat Willy Wonka mengalami kecemasan neurotik dan tindakan yang dilakukan untuk meminimalkan rasa kecemasan tersebut. Hasil penelitian ini memperlihatkan bahwa Willy Wonka mengalami rasa cemas, gugup, dan panik akibat pengalaman traumatis sejak dulu. Oleh sebab itu, Willy Wonka sengaja mengadakan kompetisi sebagai bentuk alasan bagi mekanisme pertahanan dirinya untuk berpikir mencari cara terbaik dalam mengurangi kecemasannya sementara waktu. Penelitian ini diharapkan dapat memberikan kontribusi terhadap pemahaman pikiran manusia dan objek signifikansi antara sastra dan kondisi psikologis.

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17

William Todd Schultz. "Finding Fate's Father: Some Life History Influences on Roald Dahl's Charlie and the Chocolate Factory." Biography 21, no. 4 (1998): 463–81. http://dx.doi.org/10.1353/bio.2010.0270.

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18

Loveday, Leo John. "The sarcastic implicatures of an ambivalent villain: Dahl’s Willy Wonka." Language and Literature: International Journal of Stylistics 27, no. 2 (May 2018): 86–102. http://dx.doi.org/10.1177/0963947018766453.

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This study investigates the impoliteness of Willy Wonka, a leading character in the children’s fantasy novella Charlie and the Chocolate Factory, and probes into the workings of his sadistic innuendo. While the menacing undertones of Wonka’s verbal aggression simultaneously thrill and horrify, they also deserve an explanation that goes beyond their trite dismissal as the embodiment of schoolboy humour. This research applies a Gricean framework to Wonka’s sarcastic discourse to reveal his grotesque violation of the social conventions of conversation. It scrutinises his covert verbal abuse with the aim of demonstrating how pragmatic resources help to serve literary characterisation. The analysis demonstrates how Dahl meticulously exploits the tool of conversational implicatures in order to position Wonka as an ambivalent villain.

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19

Kim, Deok-Man. "Communication of a Model for Education of Identity Based on the Epistles (Referring to the film, Charlie and the Chocolate Factory)." Journal of Digital Policy and Management 11, no. 12 (December 28, 2013): 769–75. http://dx.doi.org/10.14400/jdpm.2013.11.12.769.

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20

Fedotova, Olga V., and Elena G. Kuzmicheva. "PECULIARITIES OF PRAGMATIC ADAPTATION IN TRANSLATION OF A MODERN FAIRY-TALE INTO RUSSIAN (ON THE EXAMPLE OF "CHARLIE AND THE CHOCOLATE FACTORY" BY R. DAHL." RSUH/RGGU Bulletin. Series Psychology. Pedagogics. Education, no. 3 (2018): 118–31. http://dx.doi.org/10.28995/2073-6398-2018-3-118-131.

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21

Douglas, C. "Tales from the chocolate factory." BMJ 311, no. 7003 (August 19, 1995): 515. http://dx.doi.org/10.1136/bmj.311.7003.515.

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22

Noviyarsi, Lestari Setiawati, and Arhamna Arisya. "Optimization of Production Planning Using Goal Programming Approach at Chocolate Factory." MATEC Web of Conferences 248 (2018): 03016. http://dx.doi.org/10.1051/matecconf/201824803016.

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Company X is a mini chocolate factory in West Sumatera Province. The Company produces three types of product, that is paralin chocolate, bar chocolate 75 gr and bar chocolate 20 gr. Today, production planning only based on customer demand without any analysis an optimized amount of production to maximize profit. The purposed of this research was the optimization of production planning to maximize company profit. Goal programming approach was used in this research. There were four goals that need to optimize, that are, production volume, profit, processing time and raw material. Horizon plan was set up for six periods. LINDO software was used to compute an optimized result of goal programming. The final result shows an average of production amount for six periods, that were paralin chocolate about 65,95 kg, bar chocolate 75 gr about 883 bars and bar chocolate 20 gr about 3725 bars with maximum profit about Rp. 17.806.782,-

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23

Trisnayanti, Ni Made, I. Ketut Satriawan, and I. Wayan Gede Sedana Yoga. "STRATEGI PENGEMBANGAN PRODUK AGROINDUSTRI PADA AREA BELANJA Di AGROWISATA CAU CHOCOLATE FACTORY." JURNAL REKAYASA DAN MANAJEMEN AGROINDUSTRI 7, no. 2 (May 23, 2019): 220. http://dx.doi.org/10.24843/jrma.2019.v07.i02.p06.

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Agrotourism is a tourist activity that involves the use of agricultural land or related facilities that attract tourists. The increasing number of agrotourism will have implications for the level of competition that is increasingly high among agrotourism. The high competition is one of the factors to carry out product development strategies. The objectives purpose of this study are: 1) to find out the types of agroindustry products sold in the shopping area in agrotourism, 2) determine which agroindustry products are most popular with tourists in the shopping area, 3) to formulate alternative strategies and set priorities for agroindustry product development strategies. This research was conducted at Cau Chocolate Factory Agrotourism. This study uses the SWOT method to determine the alternative strategies used, and TOPSIS to rank these alternatives. The strategy that can be applied in Cau Chocolate Factory Agrotourism is a intensive strategy, the priority of the chosen strategy is 1) expanding the marketing of chocolate products, 2) promoting processed chocolate products to social media, 3) strengthening cooperation with suppliers and between tourism actors and similar companies. Keywords: Agrotourism, Agroindustry, SWOT, TOPSIS, Chocolate Factory

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Sturny, Arno. "Raising the bar: a story of bean-to-bar chocolate production in New Zealand." Hospitality Insights 3, no. 2 (December 3, 2019): 11–12. http://dx.doi.org/10.24135/hi.v3i2.62.

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Chocolate is considered one of the most gratifying confections there is, and this holds as true in New Zealand as elsewhere in the world. Evidence of this high interest in chocolate in New Zealand is demonstrated in the arrival of small artisanal bean-to-bar chocolate makers in the early 2000s; the voting of Whittaker’s as New Zealand’s single most trusted brand for eight years running (Reader’s Digest New Zealand’s Most Trusted Brand) [1]; the reporting on the economic, social and cultural impacts of the closure of the Cadbury chocolate factory in Dunedin [2]; and the opening of the first fair trade chocolate factory, Sweet Justice Chocolate Factory, in Christchurch by Trade Aid New Zealand [3]. These examples also demonstrate a clear transformation within New Zealand’s commercial chocolate production, reflecting worldwide changes in multinational confectionery companies but also the emergence of artisanal production that directly addresses issues of sustainability and transparency [4, 5]. While broader culinary traditions in New Zealand have been well-documented, the food history of chocolate production has not yet been explored. Consequently, this study explored the history of chocolate production in New Zealand, with a specific focus on bean-to-bar products [6]. The study, based on a narrative history and interviews with current bean-to-bar chocolate makers in New Zealand, traced the history of bean-to-bar chocolate production in New Zealand. This process allowed for a multi-faceted reconstruction and interpretation of historical data to help understand various transformations within New Zealand’s chocolate industry, an industry long dominated by multinational companies such as Cadbury and Nestlé. This domination by overseas companies has recently been challenged by the emergence of small artisanal bean-to-bar chocolate makers and the rise of local chocolate company, Whittaker’s. Among the key findings was evidence of the maturing of the local chocolate industry to the point where it is clear that New Zealand-made chocolate is now widely viewed and trusted by local consumers as a high-quality product. This trust extends to both the current strong player in the market, Whittaker’s, and equally to smaller artisanal bean-to-bar chocolate makers, a confidence in product comparable to the New Zealand craft beer industry and the more well-established wine industry. The research also finds that the emergence of more artisanal bean-to-bar chocolate makers, and their focus on more transparency around the production of chocolate, reflects similar trends overseas. The findings highlight the fragile structure surrounding growth and sustainability in the chocolate production industry, with the view that closer ties should be formed with New Zealand’s Pacific cacao-growing neighbours. The findings point to the need for additional research around the history of food in New Zealand, an area of study often undervalued in academia [7]. The findings of the research are timely as they highlight opportunities for the industry to place current worldwide sustainability concerns in perspective with a view to the future – a future that New Zealand chocolate manufacturers cannot avoid. The historical archival data captured together with the contemporary voices of New Zealand’s new generation of chocolate makers combine to tell a story of creativity and competition. The original research this article is based on can be accessed here: https://openrepository.aut.ac.nz/bitstream/handle/10292/12970/SturnyA.pdf?sequence=3&isAllowed=y Corresponding author Arno Sturny can be contacted at: arno.sturny@aut.ac.nz References (1) Trusted Brands New Zealand 2019. Most Trusted. http://www.trustedbrands.co.nz/default.asp#mostTrusted (accessed Jun 1, 2019). (2) Cadbury’s Dunedin Factory Faces Closure, 350 Jobs on the Line. The New Zealand Herald, Feb 16, 2017. https://www.nzherald.co.nz/business/news/article.cfm?c_id=3&objectid=11801779 (accessed Jun 2, 2019). (3) Trade Aid. The Sweet Justice Chocolate Factory. https://www.tradeaid.org.nz/trade/the-sweet-justice-chocolate-factory/ (accessed Mar 24, 2019). (4) Fountain, A.; Huetz-Adams, F. 2018 Cocoa Barometer; 2018. http://www.cocoabarometer.org/cocoa_barometer/Download_files/2018%20Cocoa%20Barometer%20180420.pdf (accessed Oct 13, 2018). (5) Squicciarini, M. P.; Swinnen, J. F. M. The Economics of Chocolate; Oxford University Press: Oxford, U.K., 2016. (6) Sturny, A. Raising the Bar: A Story of Bean-to-Bar Chocolate Production in New Zealand; Master’s Thesis, Auckland University of Technology, New Zealand, 2018. https://openrepository.aut.ac.nz/bitstream/handle/10292/12970/SturnyA.pdf?sequence=3&isAllowed=y (accessed Nov 25, 2019). (7) Belasco, W. G. Food Matters: Perspectives on an Emerging Field. In Food Nations: Selling Taste in Consumer Societies; Belasco, W., Scranton, P., Eds.; Taylor & Francis: London, 2002, pp 1–22. https://www.researchgate.net/publication/239586863 (accessed Jun 15, 2019).

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25

SHAW, MARGARET. "The Chocolate Factory or the Best Interests of the Child." Howard Journal of Criminal Justice 26, no. 1 (February 1987): 75–78. http://dx.doi.org/10.1111/j.1468-2311.1987.tb00574.x.

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Martín Sánchez, Óscar José. "El discurso narrativo polimodal de Roald Dahl en "Charlie y la fábrica de chocolate"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 30 (July 9, 2018): 255–66. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018302197.

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En este artículo se examina uno de los motivos constituyentes del discurso narrativo infantil y juvenil. Para ello se parte de la consideración de la existencia de que tales motivos son analizables y diferenciadores del discurso no literario. Como se ha hecho a lo largo de la historia del análisis del discurso, al tratar de delimitar los elementos integradores del texto literario, se han discriminado las constantes discursivas: las funciones, las secuencias y los personajes. A pesar de que los estudios sobre estas son insuficientes y difícilmente indisociables para discernir la esencia particular del universo literario, son, sin lugar a dudas, necesarios. Teniendo en cuenta tales limitaciones y sumando la complejidad de la naturaleza especial de los destinarios a los que van dirigidos el tipo de textos que se aborda en este artículo, es pertinente discriminar los recursos lingüísticos o paralingüísticos empleados mediante los cuales el joven lector comprende el contenido de lo que en ellos se narra. Son estos recursos los que permiten configurar el procedimiento retórico que consiente la elocución narrativa, es decir, los que definen la modalidad del discurso, el tiempo de la narración y, por último, la voz narrativa. Así pues, en el presente artículo se ofrecerá el análisis de los modos del discurso infantil y juvenil representados en una novela de Roald Dahl. El objetivo de este estudio es demostrar la existencia de la polimodalidad literaria en narrativa infantil y juvenil contemporánea como uno de los factores identificadores de su calidad literaria. Tal naturaleza derriba la idea de simplicidad compositiva y de escaso valor literario que durante décadas ha acompañado a la Literatura infantil y juvenil. Para llevar a cabo este estudio, se adoptarán las teorías expuestas al respecto, mediante una exposición resumida de las mismas, así como el método de análisis narratológico que Gerárd Genette diseñó en su obra Figures III (1972), en su traducción castellana Figuras III (1989), con el objetivo de aplicarlo a la novela del autor inglés Roald Dahl, Charlie y la fábrica de chocolate (1964), mediante la discriminación de fragmentos que traten de evidenciar cada una de las variantes modales y su posterior interpretación.

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Верещагин, Александр, Alexander Vereshchagin, Ирина Резниченко, Irina Reznichenko, Николай Бычин, and Nicolay Bychin. "Thermal Analysis in the Quality Study of Chocolate and Confectionery Products." Food Processing: Techniques and Technology 49, no. 2 (August 8, 2019): 289–300. http://dx.doi.org/10.21603/2074-9414-2019-2-289-300.

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High and unstable prices on such cocoa products as cocoa butter have triggered a search for substitutes. Thus, it is necessary to develop identification methods for chocolate authenticity, since chocolate is one of the most popular confectionery products. The present research employed the methods of thermal and thermomechanical analysis to study samples of chocolate produced in the countries of the Eurasian Economic Community (the Russian Federation, the Republic of Kazakhstan, and the Republic of Belarus) and chocolate bars with cocoa butter substitutes. An analysis of the sucrose – cocoa butter (CB) system revealed that samples with CB = 10–30%, 60%, and 90% demonstrated a single polymorphic modification of glycerides CB α-form with a melting point of 21–23°C. The samples with CB = 0%, 50%, 70%, and 80% showed a more heat-resistant modification (β’-modification) with a maximum melting point of 27.0–27.5°C. In addition, the melting peaks of glycerides were found not constant, which may indicate a eutectic effect in the sucrose – CB system. The samples of chocolate produced in the Russian Federation and the Republic of Kazakhstan passed the tempering stage and demonstrated the most heat-resistant β-modification of CB. However, the samples differed in the melting temperature: T max = 33.9°C for the Russian chocolate and T = 34.8°C for the samples from Kazakhstan (the Rakhat brand). The samples from Belarus did not pass the tempering and were found to contain a thermodynamically unstable CB α-phase (the Kommunarka factory). The samples produced by the Spartak factory (Gomel, the republic of Belarus) contained an additional CB β’-phase. The differential scanning calorimetry (DSC) curves for chocolate bars with CB substitutes differed from the DSC curves for cocoa butter and chocolate samples. The fact can be used for identification. The DSC method can be used to identify the individual characteristics of the producer of chocolate and its analogues since the parameters of the melting curve of the fat phase and the shape of the curve are individual. The thermomagnetic analysis (TMA) method complemented the identification by determining the mass fraction of the liquid phase. Joint application of DSC and TMA methods allowed the authors to evaluate the quality of chocolate, its formulation, as well as to reveal the presence of cocoa products substitutes in the samples as compared to the reference sample.

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Salido-López, José Vicente, and Pedro V. Salido-López. "La hipertextualidad entre literatura y cine: el caso de Charlie y la fábrica de chocolate, de Roald Dahl." Lenguaje y Textos, no. 44 (December 29, 2016): 61. http://dx.doi.org/10.4995/lyt.2016.6992.

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El presente artículo trata de analizar la esencia del proceso de adaptación cinematográfica de obras literarias a partir del caso concreto de <em>Charlie y la fábrica de chocolate</em>, de Roald Dahl. La adaptación cinematográfica supone una serie de intervenciones en distintos niveles significativos que convierten el proceso en mucho más que en una traducción del elemento literario a lenguaje audiovisual. Las dos versiones cinematográficas de la novela de Dahl nos permitirán comprobar las estrategias que se llevan a cabo en cada uno de esos niveles y explicar las diferencias de los productos finales.

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Cervellati, Rinaldo, Emanuela Greco, Stefano Costa, Maria Clelia Guerra, and Ester Speroni. "A comparison of antioxidant properties between artisan-made and factory-produced chocolate." International Journal of Food Science & Technology 43, no. 10 (October 2008): 1866–70. http://dx.doi.org/10.1111/j.1365-2621.2008.01765.x.

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30

Roda, Arianna, and Milena Lambri. "Changes in Antioxidants and Sensory Properties of Italian Chocolates and Related Ingredients Under Controlled Conditions During an Eighteen-Month Storage Period." Nutrients 11, no. 11 (November 9, 2019): 2719. http://dx.doi.org/10.3390/nu11112719.

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Background: While there has been an increasing interest in the health properties of chocolate, limited research has looked into the changes of antioxidants occurring in the time span from production to the best before date, which was a period of 18 months in this study. Methods: Humidity, ash, pH, acidity, fiber, carotenoids, retinols, tocopherols, sugars, proteins, theobromine, caffeine, polyphenols, fats, the peroxide value, organic acids, and volatile compounds, along with the sensory profile, were monitored at 18-week intervals for 18 months under conditions simulating a factory warehouse or a point of sale. Results: At the end of the storage period, more polyphenols were lost (64% and 87%) than vitamin E (5% and 14%) in cocoa mass and cocoa powder, respectively. Conversely, a greater loss in vitamin E (34% and 86%) than in polyphenols (19% and 47%) was shown in the hazelnut paste and gianduja chocolate, respectively. The sensory profiling of cocoa mass, cocoa powder, and hazelnut paste revealed increases in grittiness and astringency, as well as decreases in melting, bitterness, and toasted aroma. Moreover, in the hazelnut paste and gianduja chocolate, oiliness increased with a toasted and caramel aroma. Furthermore, dark chocolate was more gritty, acidic, and bitter. Milk chocolate lost its nutty aroma but maintained its sweetness and creaminess. Conclusions: These results should contribute an important reference for companies and consumers, in order to preserve the antioxidants and understand how antioxidants and sensory properties change from the date of production until the best before date.

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Solomon, Carol Westreich. "Lucy in the Chocolate Factory: From the Business World to the High School Classroom." English Journal 88, no. 5 (May 1999): 62. http://dx.doi.org/10.2307/821779.

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HAUMANN, SEBASTIAN. "Disputed transformations: deindustrialization and redevelopment of Cologne's Stollwerck factory, 1970–1980." Urban History 40, no. 1 (December 19, 2012): 156–73. http://dx.doi.org/10.1017/s0963926812000685.

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ABSTRACT:Urban development corresponds with economic shifts. In the second half of the twentieth century, when traditional forms of industrial production declined in many western cities, this posed new kinds of challenges. Cities were in need of a new economic base and at the same time had to cope with the abandonment of industrial sites. This article highlights the agency of local societies in shaping this process of deindustrialization and redevelopment. It interprets deindustrialization and redevelopment as a process of transformation which was open-ended and a matter of intense negotiation between diverging interests at the local level. In analysing the highly contentious case of the disused Stollwerck chocolate factory in Cologne, the article traces a complex set of site-specific factors of deindustrialization and redevelopment.

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Khater, Akram, and Jeffrey Culang. "EDITORIAL FOREWORD." International Journal of Middle East Studies 47, no. 3 (July 28, 2015): 421–23. http://dx.doi.org/10.1017/s0020743815000471.

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The cover image for this issue, from Moroccan artist Mounir Fatmi's installation Modern Times, depicts architectural structures and the cogs of a machine filled in with Arabic calligraphy, representing rapid architectural development and industrialization across the modern and contemporary Middle East. The title derives from the eponymous 1936 Charlie Chaplin film in which Chaplin's character Little Tramp is a factory worker during the Great Depression who, trying to keep up with the acceleration of the assembly line, is quickly overcome and succumbs to a nervous breakdown. Like the film, Fatmi's installation critiques unbridled development and draws attention to its human toll. It also explores two related features of the modern epoch: ceaseless motion and the acceleration of time.

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Hörner Botaya, Dolores. "En el mundo de Miss Honey: transformación y simbolismo culinario en Matilda y Charlie y la fábrica de chocolate, de Roald Dahl." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (August 29, 2020): 54–70. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2020.2.1378.

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El escritor en lengua inglesa Roald Dahl (1916-1990) es un referente ineludible de la literatura infantil de mediados del siglo XX. En sus novelas Charlie y la fábrica de Chocolate (1964) y Matilda (1988), el simbolismo culinario se configura alrededor de tres estrategias narrativas fundamentales para su poética: representar las relaciones de poder, subvertir la tradición de la literatura infantil en tanto género “didáctico” o aleccionador y funcionar como un elemento de transformación al interior de las tramas. Partiendo del cuento de hadas tradicional, Dahl reinventó la tradición literaria para niños y configuró un universo metafórico donde las relaciones de poder entre niño y adulto se ven trastocadas. Al utilizar la comida como signo polisémico para retratar y resignificar las relaciones de poder entre niños y adultos, Dahl subvierte y rinde homenaje a la literatura infantil clásica y a los cuentos de hadas tradicionales.

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Kokkinakis E, N., A. Fragkiadakis G, H. Ioakeimidi S, B. Giankoulof I, and N. Kokkinaki A. "Microbiological quality of ice cream after HACCP implementation: a factory case study." Czech Journal of Food Sciences 26, No. 5 (October 31, 2008): 383–91. http://dx.doi.org/10.17221/1126-cjfs.

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The microbiological quality of the final product and the safety of the production procedures were screened in an ice cream factory, after implementation of a Hazard Analysis Critical Control Points (HACCP) system. We analysed 30 vanilla (IC1), 30 strawberry (IC2), and 30 chocolate flavoured (IC3) samples of ice cream; 30 of water; 90 of personnel’s hands flora; 150 of plastic ice cream containers flora; 50 of sanitised equipment-surfaces flora. After HACCP introduction, Staphylococcus aureus was not further detectable in ice cream and Escherichia coli was mostly less than 10 CFU/g, while the spoilage markers (total coliforms – TC, aerobic plate counts – APC) in ice cream and the environment were reduced by 20–35%. Mean log CFU/g, for IC1: TC from 2.20 reduced to 1.57, APC from 4.58 reduced to 3.62. For IC2: TC from 2.29 reduced to 1.65, APC from 4.61 reduced to 3.49. For IC3: TC from 2.67 reduced to 1.76, APC from 5.08 reduced to 3.81.

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Sibanda, Nhlanhla, and Usha Ramanathan. "A holistic approach of quality: a case of UK chocolate manufacturing." International Journal of Quality & Reliability Management 37, no. 5 (July 23, 2019): 711–31. http://dx.doi.org/10.1108/ijqrm-12-2018-0332.

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Purpose This research is elucidating quality control theories to reduce variation in chocolate manufacturing process in the UK food company that will help maintain the processes stable and predictable. The purpose of this paper is to reduce defects of the output; to identify the root causes of variation; to establish and implement solutions to this variation problem; and to establish a control system to monitor and report any variation in the process. Design/methodology/approach The authors use experimental case study of a chocolate company to achieve the objective. In this paper, the authors predominantly use established theory define–measure–analyse–improve–control, customised to the case of the chocolate factory to reduce variations in production processes. Findings The results confirm that customised-traditional theoretical quality models will support manufacturing companies to maintain customer satisfaction while enhancing quality and reliability. Practical implications Implementation of customised approach reduced the rate of defect from 8 to 3.7 per cent. The implications of reduced variation are improved product quality; reprocessing elimination; and a more stable process that support sustainability and reliability in producing chocolates to meet customer needs. Social implications The authors used an experimental-based case study approach to test with one company. Testing in multiple case companies may help to generalise results. Originality/value The research study experimentally tested quality approach with a real case company and hence the findings of this study can be applied to other cases working in similar settings.

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Camu, Nicholas, Ángel González, Tom De Winter, Ann Van Schoor, Katrien De Bruyne, Peter Vandamme, Jemmy S. Takrama, Solomon K. Addo, and Luc De Vuyst. "Influence of Turning and Environmental Contamination on the Dynamics of Populations of Lactic Acid and Acetic Acid Bacteria Involved in Spontaneous Cocoa Bean Heap Fermentation in Ghana." Applied and Environmental Microbiology 74, no. 1 (November 9, 2007): 86–98. http://dx.doi.org/10.1128/aem.01512-07.

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ABSTRACT The influence of turning and environmental contamination on six spontaneous cocoa bean heap fermentations performed in Ghana was studied through a multiphasic approach, encompassing both microbiological (culture-dependent and culture-independent techniques) and metabolite target analyses. A sensory analysis of chocolate made from the fermented, dried beans was performed as well. Only four clusters were found among the isolates of acetic acid bacteria (AAB) identified: Acetobacter pasteurianus, Acetobacter ghanensis, Acetobacter senegalensis, and a potential new Acetobacter lovaniensis-like species. Two main clusters were identified among the lactic acid bacteria (LAB) isolated, namely, Lactobacillus plantarum and Lactobacillus fermentum. No differences in biodiversity of LAB and AAB were seen for fermentations carried out at the farm and factory sites, indicating the cocoa pod surfaces and not the general environment as the main inoculum for spontaneous cocoa bean heap fermentation. Turning of the heaps enhanced aeration and increased the relative population size of AAB and the production of acetic acid. This in turn gave a more sour taste to chocolate made from these beans. Bitterness was reduced through losses of polyphenols and alkaloids upon fermentation and cocoa bean processing.

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Trematerra, Pasquale, Annachiara Oliviero, Sara Savoldelli, and Matthias Schöller. "Controlling infestation of a chocolate factory by Plodia interpunctella by combining mating disruption and the parasitoid Habrobracon hebetor." Insect Science 24, no. 3 (May 13, 2016): 503–10. http://dx.doi.org/10.1111/1744-7917.12319.

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Band, Tom. "Review of John Webster'sThe White Devil(directed by Jonathan Munby) at the Menier Chocolate Factory, London, October–November 2008." Shakespeare 5, no. 1 (April 2009): 98–100. http://dx.doi.org/10.1080/17450910902764371.

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Patil, Anand, Rakshith Guru, Mohammed Saleem, and Rajeev Singh. "Microbiological Appraisal of Three Different Brands of Commercially Available Irreversible Hydrocolloid Impression Materials: An in vitro Study." Journal of Contemporary Dental Practice 12, no. 1 (2011): 35–40. http://dx.doi.org/10.5005/jp-journals-10024-1007.

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ABSTRACT Aim To evaluate factory-sealed containers of three different commercially available irreversible hydrocolloid impression materials for their microbial contamination and the type of microorganisms present. Materials and methods Thirty-six measured samples were taken of each brand and placed on chocolate agar plates or in thioglycolate broth tubes and were incubated along with appropriate parallel controls. After incubation, colonies were enumerated and identified using standard microbiological methods. Results The three brands contained viable microorganisms in 90% of the samples. Samples from the top, middle and bottom layers had approximately equal contamination frequencies. The concentration of organism varied from 25 to 74 CFUs per gram of contaminated sample. Conclusion and clinical significance The samples contained viable microorganism which may be potentially dangerous to immunocompromised patients. How to cite this article Guru R, Saleem M, Singh R, Patil A. Microbiological Appraisal of Three Different Brands of Commercially Available Irreversible Hydrocolloid Impression Materials: An in vitro Study. J Contemp Dent Pract 2011;12(1):35-40.

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Coats, Karen. "Inside Charlie’s Chocolate Factory: The Complete Story of Willy Wonka, the Golden Ticket, and Roald Dahl’s Most Famous Creation by Lucy Mangan." Bulletin of the Center for Children's Books 68, no. 3 (2014): 167. http://dx.doi.org/10.1353/bcc.2014.0920.

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Kistler, Jordan. "A POEM WITHOUT AN AUTHOR." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 875–86. http://dx.doi.org/10.1017/s1060150316000255.

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These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).

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Picciaia, Francesca. "“In spite of everything?” Female entrepreneurship from a historical perspective." Journal of Management History 23, no. 4 (September 11, 2017): 436–51. http://dx.doi.org/10.1108/jmh-02-2017-0004.

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Purpose This paper provides a historical case study, through the analysis of Luisa Spagnoli’s entrepreneurial life. Luisa Spagnoli was one of the most famous Italian businesswomen of the twentieth century, founder of “Perugina” chocolate factory and creator of “Luisa Spagnoli” fashion firm. The study aims particularly to examine the role of Luisa in the development of her businesses within the wider context of Italy of the 1900s, and to verify if and how gender has influenced the meaning and the shape of her entrepreneurial initiatives over time. Design/methodology/approach This study offers a historical analysis of entrepreneurial life of Luisa Spagnoli, developed through an archival study in a synchronic view. An interpretive historical method is adopted to deepen and better understand the links among personal, cultural, social and institutional domains. Findings This study contributes to the scholarship on businesswomen’s role in history and underlines the role of personal perceptions of female entrepreneurs to overcome external barriers. Research limitations/implications The limitations of this study concern the nature of the analysis itself, which is a single-case study. Originality/value This analysis highlights the centrality of personal self-perceptions to face up to the difficulties of an unfavourable context, contributing to create the pre-conditions necessary to become an entrepreneur.

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Miles, Tim. "Starting out in stand-up: or why stand-up comedy saved my life and why it could save yours, by Dave Pitt/Charlie and the latex factory, by Tessa Ditner." Comedy Studies 5, no. 1 (January 2, 2014): 97–100. http://dx.doi.org/10.1080/2040610x.2014.905075.

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Menkveld, H. W. H., E. Broeders, and G. O. J. Smith. "AecomixTM for efficient energy recovery from wastewater and waste streams." Water Practice and Technology 13, no. 2 (June 1, 2018): 257–66. http://dx.doi.org/10.2166/wpt.2018.031.

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Abstract Food and beverage production plants are major wastewater contributors and often have food waste. Particularly plants with wastewaters with a significant total suspended solids and/or fats, oils and greases like in the dairy, redmeat and chicken industry needs to pre-treat their wastewater before high rate anaerobic reactors can be applied. This pre-treatment generally includes undesirable chemical treatment and generates a concentrated side stream which needs to be dealt with. The AecomixTM reactor is an anaerobic reactor with solids retention, particularly suited to treat such effluents, together with available organic wastes. In this manner two waste streams are dealt with in one system and a high level of conversion to biogas is achieved. The solids retention is achieved by Dissolved Biogas Flotation. A full scale AecomixTM reactor treated the effluent of a chocolate/candy factory with a COD concentration varying between 10,000–60,000 mg/l at an average of 37,000 mg/l. The removal for COD and TSS was more than 95% on average. To meet with local discharge regulations a post aerobic biological treatment may be required. The excess sludge from this aerobic system can be returned to the AecomixTM reactor, which is another advantage over high rate (UASB or EGSB type) reactors. The AecomixTM is approximately 50% lower in yearly costs compared to a chemical treatment plant based on flocculation flotation followed by an EGSB reactor.

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Habets, L. H. A., A. J. H. H. Engelaar, and N. Groeneveld. "Anaerobic treatment of inuline effluent in an internal circulation reactor." Water Science and Technology 35, no. 10 (May 1, 1997): 189–97. http://dx.doi.org/10.2166/wst.1997.0382.

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Sensus Operations C.V. is a 100 percent subsidiary of the Dutch Suiker Unie group (Cosun). At the site in Roosendaal it operates an inuline and fructose production line, using chicory beet as raw material. Inuline is a product which is gaining more and more popularity as a structural improver in food, as a low calory replacement in ice-cream and chocolate bars and as moisturizer to improve the spreadability of cleaning products. It consists of a polyfructose fibre which is hardly degraded in the human body. The cleaning and chipping process of the chicory beet is similar to the sugar beet preparation process and so is the effluent. The production process itself is different and the effluent released, also contains the effluent from a demineralisation plant, which results in an additional high COD and salt loaded effluent. During the first two years of inuline production the “heavy water” (high COD, salty effluent) was simply added to one of the existing UASB reactors, because the inuline factory was running at a very low capacity. However since 1995 the production could be increased drastically to 1500 tpd so that an extra anaerobic treatment unit had to be installed. The third would require enough capacity to convert 30 tons of COD per day (COD load 37.5-40 tpd). However, the investment was quite high and the reactor volume would be of such a size that it would be more difficult to operate, considering the sludge weight and the important ground surface. At the moment the size of the reactor was known, the idea was born to consider the installation of an Internal Circulation (IC) reactor. This reactor was 25% lower in investment cost and space occupation was only 55 m2 instead of 450 m2. This paper reveals the performance of the IC reactor during the first campaign in 1995.

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Sternheim, Joyce. "I have to change to stay the same." New Library World 117, no. 1/2 (January 11, 2016): 22–34. http://dx.doi.org/10.1108/nlw-09-2015-0061.

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Purpose – The purpose of this paper is to propose that to survive and thrive the library needs to aim for a more active role in people’s lives and in the communities that surround them. Public libraries are places of learning. They strive to enrich, empower and inspire people to support their full participation in society. But our fast-changing society (Pink, 2005) requires people to develop new competencies, such as creativity, empathy, collaboration and big-picture thinking. However, current processes of the public library are still primarily aimed at providing and improving access to information produced by others. Although of great importance, these processes are fundamentally passive and do not actively stimulate people to share knowledge and insights or to engage in conversations. It explores how this can be done and what effect this change might have on library space based on the ideas and perspective of the Dutch Ministry of Imagination. Design/methodology/approach – The Ministry, a cooperation between architect Jan David Hanrath and librarians Rob Bruijnzeels and Joyce Sternheim, conducts research and realizes new types of libraries and library architecture. To turn the public library into a more dynamic and active social setting, the Ministry has developed a new work process supported by matching criteria for the layout of library space. Findings – The new concept has been brought into practice in the Chocolate Factory in Gouda, The Netherlands, which since then has become a permanent testing ground for new library work. Originality/value – This paper is a thought piece that will be of interest not only to those concerned with public libraries, but also to everyone who is searching for ways to turn the library into a learning environment in which a continuous process of knowledge creation takes place, through interaction with the collection, but – most importantly – through interaction between people.

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Shadursky, Vladimir V. "Turgenev as Perceived by Mark Aldanov." Literary Fact, no. 17 (2020): 265–80. http://dx.doi.org/10.22455/2541-8297-2020-17-265-280.

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The paper examines various aspects of the perception of I.S. Turgenev’s personality and works by Mark Aldanov. The reception of Turgenev in Aldanov's work has been studied diachronically: from mentioning the characters of the novel “Rudin” in the journalistic book “Armageddon” to reviews of the émigré editions of Turgenev's works and criticism in the philosophical dialogues “Ulm Night”. The reasons for Aldanov’s irony towards some of Turgenev's works, called by him the “chocolate factory”, are investigated. Aldanov's position is largely due to the principles of the cultural-historical method. Aldanov explains Turgenev's artistic failures by mistakes in a constant search for an adequate form for expressing rich content. Aldanov tries to be an objective, well-reasoned critic, but he correlates the shortcomings of Turgenev's style with the advantages of L.N. Tolstoy’s style. At the same time, Aldanov is concerned of Turgenev’s “failures”, praising him as one of the five best authors of the “golden” age of Russian literature and an original European intellectual. Aldanov mentions Turgenev in his journalism, criticism, correspondence, uses Turgenev's motives and quotes in his own fiction. The paper describes the novels “The Story of Death”, “Delirium”, “Suicide”, in which Turgenev's biography, images of Turgenev's works are embedded in the life of Aldanov's fictional characters. The kindness and morality of Turgenev's characters, the delicacy of the writer’s discourse enter the moral world of Aldanov's characters. For almost 40 years Aldanov quoted Turgenev's works and letters and used the images of his novels and stories to express his own aesthetic assessment. A sense of his own place in literature gave Aldanov the right to express his opinion not only about the merits of Turgenev's work, but also about the shortcomings of his technique.

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Sudewo, Bawono, and Aris Munandar. "A STUDY ON THE CHARACTERISTICS OF MR. WILLY WONKA THAT SET UP THE STAGES OF THE GOLDEN TICKET CHILDREN IN ROALD DAHL'S CHARLIE AND CHOCOLATE FACTORY." Lexicon 1, no. 1 (April 1, 2014). http://dx.doi.org/10.22146/lexicon.v2i1.5318.

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The goal of this graduating paper is to know how the unconsciousness minds and habits linking to each other. It discusses the mind that triggers characters behavior in the Charlie and Chocolate Factory. The writer focuses on the children who get the golden tickets and the owner of the Chocolate Factory (Mr. Willy Wonka).According to Willbur S Scott with his Psychoanalysis Theory on Fictitious Characters, he stated that we can look further about the pattern which motivates the character to express something. It helps the present writer to analyze deeper, by identifying the showed which were done by the children in Roald Dahl’s Charlie and Chocolate Factory.After carying out the research, it shows that their (the five lucky children and Mr. Willy Wonka) subconscious mind triggers bad action which expelled the children from the chocolate factory and good action which made Charlie the champion.

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Downing, Leanne. "Media Synergies and the Politics of Affect in Tim Burton’s Charlie and the Chocolate Factory (2005)." M/C Journal 8, no. 6 (December 1, 2005). http://dx.doi.org/10.5204/mcj.2464.

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“What if we were to go into culture tongue-first to see how things taste?” (Jenkins 5) Released in June of 2005, Tim Burton’s Charlie and the Chocolate Factory has all the ingredients of a blockbuster success; a well known story-line, a target youth demographic, a nostalgic adult audience and a multi-million dollar synergy between media giants AOL Time Warner and transnational food corporation Nestlé. Yet, when it comes to discussing the affect-oriented components of the marketing campaign behind this film, much contemporary academic scholarship falls short of offering a substantial framework for theoretical analysis. Defined broadly as a subjective, felt experience, the notion of affect has traditionally fought an uphill battle for scholarly recognition within media studies. Against a backdrop of objective rationality and quantitative analysis, the touching, smelling and tasting components of media consumption have been systematically disregarded in favour of the audio-visual pleasures of the filmic medium. However, as the recent cross-promotional strategies underpinning Charlie and the Chocolate Factory reveal, the tactile, olfactory and gustatory components of moviegoing are often central to global media consumption practices. The synergised marketing initiatives between AOL/Time-Warner and Nestlé confectionary exemplify the significance of affect within globalised media consumption. Drawing on Roald Dahl’s 1964 children’s classic of the same name, the recent revamping of Charlie and the Chocolate Factory explicitly utilises Nestlé confectionary as a nexus between the seemingly incommensurate realms of transnational media distribution/commerce and the consuming, sentient bodies of actual movie-goers. In direct contrast to Stuart’s 1971 film Willy Wonka and the Chocolate Factory, which offered audiences an audio-visual representation of hedonistic indulgence, the Warner/Nestlé agreement effectively ensures an edible cinematic adventure, in which audiences are enticed to consume “actual” (Nestlé) Wonka bars as part of the movie experience. The following enticement from a recent Nestlé press release is explicit in this regard: “You dreamt of them in the book, you will yearn for them in the film and now you can finally taste scrumptiously sumptuous Wonka Bars” (Drew 1). In keeping with this cross-promotion, the majority of Wonka products seen in Burton’s Charlie and the Chocolate Factory have identical wrappings to the merchandise currently being promoted in retail outlets across the United States, Canada, Europe and Australasia. In thus establishing distinct syntagmatic relationships between the film’s diegisis and its “real world” marketing campaign Warner and Nestlé have ensured a form of media consumption that moves beyond ocularcentric understandings of “spectatorship” and into the uncharted realms of the emotional and the visceral. Nestlé’s use of the enigmatic character Wonka and his extraordinary confectionary provides another palpable demonstration of this politics of affect: Willy Wonka, the world’s most eminent chocolatier, has created a scrumdiddlyumptious selection of delectable treats to choose from. The enticing Wonka Bars tempt you in three tantalisingly tasty flavours: Whipple-Scrumptious Fudgemallow Delight, Nutty Crunch Surprise (the surprise is that it contains no nuts!) and Triple Dazzle Caramel (Drew 1). In terms of media affect, the implications of this phenomenon are significant. Far from being confined to the audio-visual specificities of the filmic medium, contemporary audiences are being lured into an entertainment experience that can not only be seen and heard, but also smelled, touched and tasted. These sense-oriented marketing strategies are indicative of what John Hannigan has identified as “eatertainment”, an affective synapse of consumer activity “in which the former boundaries between eating and play are collapsed and recast into something new” (93). In offering audiences an edible cinematic experience, the Nestlé -Warner cross-promotion not only ensures a potentially novel trip to the cinemas, but also a repeat purchase scenario, whereby Wonka-themed confectionary is able to be purchased several times after just one viewing of Burton’s film. The notion of eatertainment is certainly paying off for Nestlé. With a product placement deal in excess of nine million U.S. dollars, Nestlé’s Wonka confectionery range is given optimum exposure throughout the film. According to The Atlanta Journal, the preparation for this placement required Nestlé to produce and wrap over 110,000 fake chocolate bars; most of which were used in the scene in Mr Salt’s factory where hundreds of his employees are seen ripping open Wonka bars in the hope of finding a golden ticket for Mr. Salt’s infamous daughter Veruca (Bookman 8). In tandem with this placement, Nestlé UK also launched a £1.5m television advertising campaign replete with a “golden ticket” promotion, which promised several ‘lucky consumers’ the chance to win a golden ticket: Everybody has a chance of finding one of the most sought after tickets underneath their Wonka Bar wrapper, as featured in the film. The lucky golden ticket winners will be treated to a trip of a lifetime to visit a chocolate factory and Warner Bros Studios in America (Drew 1). The Nestlé/Wonka connection was forged in 1999 after Nestlé purchased Rowntree confectionary. Taking its incentive from both the novel and the subsequent 1971 film, Nestlé re-launched Rowntree’s relatively underdeveloped Wonka range and transformed it into a major brand which now has an annual income of over $121 million U.S (Jardine 8). To date, there are over two dozen products in the Wonka range and all of them manage to tie in with Roald Dahl’s earlier discourses of mischief, eccentricity and gustatory bliss. Included amongst the Wonka range are products such as Laffy Taffy, Nerds, Oompahs, and Wonka Bars, with nearly all of the existing products carrying the tag-line; “Wonka, what will he think of next?”. Discussing the evolution of the Wonka brand, Frank Arthofer, CEO of Nestlé chocolate and confections, noted that “the tag-line is intended to capture the innovation and unpredictability of the brand and further the image of Willy Wonka as an inventor” (Thompson 14). In fortifying this agenda, Nestlé also hosts a Wonka Website in which children are encouraged to play interactive Wonka games such as ‘Oompahs Outrageous Rush’ and ‘Gobstopper Gobbler”. Of course, this is not the first time that media giants have aggressively marketed food as an integral component to the cinematic experience. In 1996, Disney and McDonalds collaborated on a $US four billion cross-promotional exercise (Howard 2). Since then, McDonalds and Disney have launched numerous “McDisney” packages, many of which have included film-specific foods such as banana-flavoured sundaes and “jungle burgers” to tie in with Disney’s 1999 animated film Tarzan. However, unlike the McDonalds/Disney agreement, in which the food operates as an indexical signifier of the film (and not vice-versa), the Nestlé /Warner promotion takes the politics of affect one step further and encourages a mutually beneficial process of signification whereby the food signifies the film and the film signifies the food. It’s a scenario that blatantly ensures a form of visceral connectivity between the audience, the film and the tangible product. To this end, an analysis of the synergised marketing campaign behind Charlie and the Chocolate Factory reveals a persistent and efficient politics of affect in which the neo-liberal agendas of both Nestlé and Time-Warner are affectively absorbed into the sensual and desiring bodies of media audiences. Such initiatives signal a significant departure from traditional audio-visual marketing campaigns in as much as audiences are now being expected to literally swallow the saccharine-tinged marketing agendas of not one, but two, multinational corporations. While prevailing theoretical analysis of media consumption struggles against the traditional confines of rational objectivity, transnational media networks are productively utilising the audiences’ desire to be affectively engaged in the cinematic experience. As the cross-promotional tie-in deals behind Burton’s Charlie and the Chocolate Factory clearly reveal, the contemporary media-scape is one which deliberately lures audiences on the basis of their sensuous, emotional and subjective capacities. References Bookman, Julie. “News for Kids.” The Atlanta Journal 18 July 2005: B8. Charlie and the Chocolate Factory. Directed by Tim Burton. 2005. Dahl, Roald. Charlie and the Chocolate Factory. London: Penguin, 1964. Drew, Cathy. “The Marvellously Mouth-Watering Wonka Bars.” Nestlé UK Wonka Press Release 26 July 2005. 24 Aug. 2005 http://www.nestle.co.uk/PressOffice/MediaKit/PressReleases/ ConfectioneryNews/Mouth-wateringWonkaBars.htm>. Howard, Thomas. “Disney Alliance Shows Brute Force.” Nations Restaurant News: The Weekly Newspaper of the Food Industry 2 Dec. 1996. Jardine, Alice. “Nestlé Plans Wonka Push in the UK.” Marketing 29 Apr. 1999: 8. Jenkins, Emily. Tongue First: Adventures in Physical Culture. New York: Virago Press, 1998. Tarzan. Directed by C. Buck. 1999. Thompson, Stephanie. “Nestlé Works to Build Wonka Brand.” Advertising Age 15 Nov. 1999: 14. Willy Wonka and the Chocolate Factory. Directed by M. Stuart. 1971. Wonka Website. http://www.wonka.com>. Citation reference for this article MLA Style Downing, Leanne. "Media Synergies and the Politics of Affect in Tim Burton’s Charlie and the Chocolate Factory (2005)." M/C Journal 8.6 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0512/11-downing.php>. APA Style Downing, L. (Dec. 2005) "Media Synergies and the Politics of Affect in Tim Burton’s Charlie and the Chocolate Factory (2005)," M/C Journal, 8(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0512/11-downing.php>.

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