text:
Monopoly price
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A monopoly price is set by a monopoly.[1][2] A monopoly occurs when a firm is the only firm in an industry producing the product, such that the monopoly faces no competition.[1][2] A monopoly has absolute market power, and thereby can set a monopoly price that will be above the firm's marginal (economic) cost, which is the change in total (economic) cost due to one additional unit produced.[1]
The monopoly will ensure a monopoly price will exist when it establishes the quantity of the product it will sell.[1] As the sole supplier of the product within the market, its sales establish the entire industry's supply within the market, and therefore the monopoly's production and sales decisions can establish a single monopoly price for the industry without any influence from competing firms.[1][2][3] The monopoly will always consider the demand for its product as it considers what price is appropriate; such that it will choose a production supply and price combination that will ensure a maximum economic profit.[1][2] It does this by ensuring the marginal cost (determined by the firm's technical limitations that form its cost structure) is the same as the marginal revenue (as determined by the impact a change in the price of the product will impact the quantity demanded) at the quantity it decides to sell.[1][2] The marginal revenue is solely determined by the demand for the product within the industry, and is the change in revenue that will occur by lowering the price just enough to ensure a single additional unit will be sold.[1][2] The marginal revenue is positive, but it is lower than the price associated with it because lowering the price will:
(a) increase the demand for its product, thereby increasing the firm's Sales Revenue,[1] and
(b) Lower the price paid by those who were willing to buy the product at the higher price, thereby ensuring a lower sales revenue on the product sales to those who were willing to pay the higher price.[1]
Marginal Revenue = M R = P + P ′ ( Q ) ∗ Q {\displaystyle MR=P+P'(Q)*Q} [2]
where 0 > P ′ ( Q ) {\displaystyle 0>P'(Q)} [2]
Reduction in Price increases the Quantity Demanded, but Reduces Payments by those who would be willing to pay a higher price - MR < P
Marginal cost solely relates to the firm's technical cost structure within production, and indicates the rise in total (economic) cost that must occur for an additional unit to be supplied to the market by the firm.[1] The marginal cost is higher than the average cost because of diminishing marginal product in the short run.[1]
Marginal Cost = M C = C ′ ( Q ) {\displaystyle MC=C'(Q)} [2]
where 0 < C ′ ( Q ) {\displaystyle 0<C'(Q)} [2][4]
Diminishing Marginal Product ensures the Rise in Cost from producing an additional Item (Marginal Cost) is always greater than the Average Variable (Controllable) Cost at that level of production. Since some costs cannot be controlled in the "Short Run", the Variable (Controllable) Costs will always be lower than the Total Costs in the "Short Run".
Samuelson indicates this point on the Consumer Demand curve is where Price is equal to one over one plus the reciprocal of the price elasticity of demand.[5] This rule does not apply to competitive firms since such firms are price takers, and don't have the market power to control either prices or Industry-Wide Sales.[1]
Although the term "markup" is sometimes used in economics to refer to difference between a Monopoly Price and the Monopoly's Marginal Cost (MC),[6] the term markup is frequently used in American Accounting and Finance to define the difference between the Price of the Product and its per unit Accounting Cost. Accepted Neo-Classical Micro-Economic Theory indicates the American Accounting and Finance definition of markup, as it exists in most Competitive Markets, solely ensures an "Accounting Profit" that will be just enough to solely compensate the Equity owners of a "Competitive Firm" within a "Competitive Market" for the "Economic Cost" ("Opportunity Cost") they must bear when they decide to hold on to the Firm's Equity.[3] The "Economic Cost" of holding onto Equity at its Present Value is the "Opportunity Cost" the Investor must bare when he gives up the Interest Earnings on Debt of similar Present Value (He holds onto Equity instead of the Debt).[3] Economists would indicate a Markup rule on Economic Cost used by a Monopoly to set a "Monopoly Price" that will maximize its Profit, is excessive markup that leads to inefficiencies within an economic system.[1][2][7][8]
Mathematical Derivation - How a Monopoly Sets the Monopoly Price[edit]
Mathematically, we derive the general rule a Monopoly uses to maximize Monopoly profit through simple Calculus. We first depict the basic equation for "Economic Profit", in which the Total Economic Cost varies directly with the quantity produced:
π = P ( Q ) ∗ Q − C ( Q ) {\displaystyle \pi =P(Q)*Q-C(Q)}
where
Q = quantity sold,
P(Q) = inverse demand function, and thereby the Price at which Q can be sold given the existing Demand
C(Q) = Total (Economic) Cost of producing Q.
π {\displaystyle \pi } = Economic Profit

This is done by setting the derivative of π {\displaystyle \pi } with respect to Q equal to 0, Profit of a firm is given by total revenue (price times quantity sold) minus total cost:
P ′ ( Q ) Q + P − C ′ ( Q ) = 0 {\displaystyle P'(Q)Q+P-C'(Q)=0}
where
Q = quantity sold,
P'(Q) = the partial derivative of the inverse demand function, and thereby the Price at which Q can be sold given the existing Demand
C'(Q) = Marginal Cost, or the partial derivative of the Total (Economic) Cost of producing Q.

This yields:
P ′ ( Q ) ∗ Q + P = C ′ ( Q ) {\displaystyle P'(Q)*Q+P=C'(Q)}

or "Marginal Revenue" = "Marginal Cost". This is usually called the "First Order Conditions" for a Profit Maximum.[2]
According to Samuelson,
P ( P ′ ( Q / P ) + 1 ) = M C {\displaystyle P(P'(Q/P)+1)=MC}
By definition P ′ ( Q / P ) {\displaystyle P'(Q/P)} is the reciprocal of the price elasticity of demand (or 1 / ϵ {\displaystyle 1/\epsilon } ). Hence
P ( 1 + 1 / ϵ ) = M C {\displaystyle P(1+1/{\epsilon })=MC}
This gives the markup rule:
P = ϵ ϵ + 1 M C {\displaystyle P={\frac {\epsilon }{\epsilon +1}}MC}
or, letting η {\displaystyle \eta } be the reciprocal of the price elasticity of demand,
P = 1 1 + η M C {\displaystyle P={\frac {1}{1+\eta }}MC}
Thus the monopolistic firm chooses the quantity at which the demand price satisfies this rule. Since for a price setting firm η < 0 {\displaystyle \eta <0} this means that a firm with market power will charge a price above marginal cost and thus earn a monopoly rent. On the other hand, a competitive firm by definition faces a perfectly elastic demand, hence it believes η = 0 {\displaystyle \eta =0} which means that it sets price equal to marginal cost.
The rule also implies that, absent menu costs, a monopolistic firm will never choose a point on the inelastic portion of its demand curve. Furthermore, for an equilibrium to exist in a monopoly or in an oligopoly market, the price elasticity of demand must be less than negative one ( 1 / η < 1 {\displaystyle 1/{\eta }<1} )(Mas-Colell) simply because the price elasticity of demand must be less than negative one for Marginal Revenue (MR) to be positive.[4] The Mathematical Profit Maximization Conditions ("First Order Conditions") ensure the price elasticity of demand must be less than negative one;[2][7] since no "Rational Firm" that attempts to maximize its profit would incur additional Cost (a positive Marginal Cost) in order to Reduce Revenue (when MR < 0).[1]
References[edit]
^ Jump up to: a b c d e f g h i j k l m n o Roger LeRoy Miller, Intermediate Microeconomics Theory Issues Applications, Third Edition, New York: McGraw-Hill, Inc, 1982.
^ Jump up to: a b c d e f g h i j k l m Tirole, Jean, "The Theory of Industrial Organization", Cambridge, Massachusetts: The MIT Press, 1988.
^ Jump up to: a b c John Black, "Oxford Dictionary of Economics", New York: Oxford University Press, 2003. Cite error: Invalid <ref> tag; name "EconDictionary" defined multiple times with different content (see the help page).
^ Jump up to: a b Henderson, James M., and Richard E. Quandt, "Micro Economic Theory, A Mathematical Approach. 3rd Edition", New York: McGraw-Hill Book Company, 1980. Glenview, Illinois: Scott, Foresmand and Company, 1988.
Usually, in many Text Books, Economic Cost, here presented by C(Q), is divided into 2 Categories; Labor Costs and Capital Costs:
C(Q) = L * w + K * R
where
L = Labor hired,
w = Wage Rate,
K = Total amount of Capital financed by both Debt and Equity,
R = "Cost of Capital", including both "Interest Expense" and the minimum required "Rate of Return on Equity"
Q = Q(L,K) = a function of the quantity of Labor and Capital employed in production
Jump up ^ Samuelson; Marks (2003). p.104
Jump up ^ Nicholson, Walter and Christopher Snyder, Microeconomic Theory: Basic Principles and Extensions, Mason, OH: Thomson/South-Western, 2008.
^ Jump up to: a b Henderson, James M., and Richard E. Quandt, "Micro Economic Theory, A Mathematical Approach. 3rd Edition", New York: McGraw-Hill Book Company, 1980. Glenview, Illinois: Scott, Foresmand and Company, 1988.
Jump up ^ Bradley R. chiller, "Essentials of Economics", New York: McGraw-Hill, Inc., 1991.
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Wheel and axle
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
The windlass is a well-known application of the wheel and axle.
The wheel and axle are one of six simple machines identified by Renaissance scientists drawing from Greek texts on technology.[1] The wheel and axle consists of a wheel attached to a smaller axle so that these two parts rotate together in which a force is transferred from one to the other. A hinge or bearing supports the axle, allowing rotation. It can amplify force; a small force applied to the periphery of the large wheel can move a larger load attached to the axle.
The wheel and axle can be viewed as a version of the lever, with a drive force applied tangentially to the perimeter of the wheel and a load force applied to the axle, respectively, that are balanced around the hinge which is the fulcrum. The mechanical advantage of the wheel and axle is the ratio of the distances from the fulcrum to the applied loads, or what is the same thing the ratio of the diameter of the wheel and axle.[2] A major application is in wheeled vehicles, in which the wheel and axle are used to reduce friction of the moving vehicle with the ground. Other examples of devices which use the wheel and axle are capstans, belt drives and gears.
Capstan bars inserted into the capstan provide the mechanical advantage of a wheel and axle to lift an anchor.
Turning a doorknob rotates the spindle which moves the latch.
Waterwheel driving a rope winch to lift loads in medieval mining.
Contents
[hide]
1 History
2 Mechanical advantage
2.1 Ideal mechanical advantage
2.2 Actual mechanical advantage
3 References
4 Additional Resources
History[edit]
Further information: Wheel
The Halaf culture of 6500–5100 BCE has been credited with the earliest depiction of a wheeled vehicle, but this is doubtful as there is no evidence of Halafians using either wheeled vehicles or even pottery wheels.[3]
One of the first applications of the wheel to appear was the potter's wheel, used by prehistoric cultures to fabricate clay pots. The earliest type, known as "tournettes" or "slow wheels", were known in the Middle East by the 5th millennium BCE (one of the earliest examples was discovered at Tepe Pardis, Iran, and dated to 5200–4700 BCE). These were made of stone or clay and secured to the ground with a peg in the center, but required effort to turn. True (freely-spinning) wheels were apparently in use in Mesopotamia by 3500 BCE and possibly as early as 4000 BCE,[4] and the oldest surviving example, which was found in Ur (modern day Iraq), dates to approximately 3100 BCE.
Evidence of wheeled vehicles appears in the second half of the 4th millennium BCE, near-simultaneously in Mesopotamia (Sumerian civilization), the Northern Caucasus (Maykop culture) and Central Europe (Cucuteni-Trypillian culture).
An early well-dated depiction of a wheeled vehicle (a wagon—four wheels, two axles) is on the Bronocice pot, a ca. 3635–3370 BCE ceramic vase, excavated in a Funnelbeaker culture settlement in southern Poland.[5]
The oldest known example of a wooden wheel and its axle was found in 2002 at the Ljubljana Marshes some 20 km south of Ljubljana, the capital of Slovenia. According to radiocarbon dating, it is between 5,100 and 5,350 years old. The wheel was made of ash and oak and had a radius of 70 cm and the axle was 120 cm long and made of oak.[6]
In Roman Egypt, Hero of Alexandria identified the wheel and axle as one of the simple machines used to lift weights.[7] This is thought to have been in the form of the windlass which consists of a crank or pulley connected to a cylindrical barrel that provides mechanical advantage to wind up a rope and lift a load such as a bucket from the well.[8]
Mechanical advantage[edit]
The simple machine called a wheel and axle refers to the assembly formed by two disks, or cylinders, of different diameters mounted so they rotate together around the same axis.The thin rod which needs to be turned is called the axle and the wider object fixed to the axle, on which we apply force is called the wheel. A tangential force applied to the periphery of the large disk can exert a larger force on a load attached to the axle, achieving mechanical advantage. When used as the wheel of a wheeled vehicle the smaller cylinder is the axle of the wheel, but when used in a windlass, winch, and other similar applications (see medieval mining lift to right) the smaller cylinder may be separate from the axle mounted in the bearings. It cannot be used separately.[9][10]
Assuming the wheel and axle does not dissipate or store energy, that is it has no friction or elasticity, the power input by the force applied to the wheel must equal the power output at the axle. As the wheel and axle system rotates around its bearings, points on the circumference, or edge, of the wheel move faster than points on the circumference, or edge, of the axle. Therefore, a force applied to the edge of the wheel must be less than the force applied to the edge of the axle, because power is the product of force and velocity.[11]
Let a and b be the distances from the center of the bearing to the edges of the wheel A and the axle B. If the input force FA is applied to the edge of the wheel A and the force FB at the edge of the axle B is the output, then the ratio of the velocities of points A and B is given by a/b, so the ratio of the output force to the input force, or mechanical advantage, is given by
M A = F B F A = a b . {\displaystyle MA={\frac {F_{B}}{F_{A}}}={\frac {a}{b}}.}
The mechanical advantage of a simple machine like the wheel and axle is computed as the ratio of the resistance to the effort. The larger the ratio the greater the multiplication of force (torque) created or distance achieved. By varying the radii of the axle and/or wheel, any amount of mechanical advantage may be gained.[2] In this manner, the size of the wheel may be increased to an inconvenient extent. In this case a system or combination of wheels (often toothed, that is, gears) are used. As a wheel and axle is a type of lever, a system of wheels and axles is like a compound lever.[12]
Ideal mechanical advantage[edit]
The mechanical advantage of a wheel and axle with no friction is called the ideal mechanical advantage (IMA). It is calculated with the following formula:
I M A = F out F in = R a d i u s wheel R a d i u s axle {\displaystyle \mathrm {IMA} ={F_{\text{out}} \over F_{\text{in}}}={\mathrm {Radius} _{\text{wheel}} \over \mathrm {Radius} _{\text{axle}}}}
Actual mechanical advantage[edit]
All actual wheels have friction, which dissipates some of the power as heat. The actual mechanical advantage (AMA) of a wheel and axle is calculated with the following formula:
A M A = F out F in = η ⋅ R a d i u s wheel R a d i u s axle {\displaystyle \mathrm {AMA} ={F_{\text{out}} \over F_{\text{in}}}=\eta \cdot {\mathrm {Radius} _{\text{wheel}} \over \mathrm {Radius} _{\text{axle}}}}
where
η = P out P in {\displaystyle \eta ={P_{\text{out}} \over P_{\text{in}}}} is the efficiency of the wheel, the ratio of power output to power input
References[edit]
Jump up ^ Wheel and Axle, The World Book Encyclopedia, World Book Inc., 1998, pp. 280-281
^ Jump up to: a b Bowser, Edward Albert, 1890, An elementary treatise on analytic mechanics: with numerous examples. (Originally from the University of Michigan) D. Van Nostrand Company, pp. 190
Jump up ^ V. Gordon Childe (1928). New Light on the Most Ancient East. p. 110.
Jump up ^ D. T. Potts (2012). A Companion to the Archaeology of the Ancient Near East. p. 285.
Jump up ^ Anthony, David A. (2007). The horse, the wheel, and language: how Bronze-Age riders from the Eurasian steppes shaped the modern world. Princeton, N.J: Princeton University Press. p. 67. ISBN 0-691-05887-3.
Jump up ^ Aleksander Gasser (March 2003). "World's Oldest Wheel Found in Slovenia". Government Communication Office of the Republic of Slovenia. Retrieved 19 August 2010.
Jump up ^ Usher, Abbott Payson (1988). A History of Mechanical Inventions. USA: Courier Dover Publications. p. 98. ISBN 048625593X.
Jump up ^ Elroy McKendree Avery, Elementary Physics, New York : Sheldon & Company, 1878.
Jump up ^ Prater, Edward L. (1994), Basic Machines, Naval Education and Training Professional Development and Technology Center, NAVEDTRA 14037
Jump up ^ Bureau of Naval Personnel, 1971, Basic Machines and How They Work, Dover Publications.
Jump up ^ J. J. Uicker, G. R. Pennock, and J. E. Shigley, 2003, Theory of Machines and Mechanisms, Oxford University Press, New York.
Jump up ^ Baker, C.E. The Principles and Practice of Statics and Dynamics … for the Use of Schools and Private Students. London: John Weale, 59, High Holborn. 1851 pp. 26-29 read online or download full text
Additional Resources[edit]
Basic Machines and How They Work, United States. Bureau of Naval Personnel, Courier Dover Publications 1965, pp. 3–1 and following preview online
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Nala (The Lion King)
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Nala
The Lion King character
Adult Nala as she appears in the first film
First appearance
The Lion King (1994)
Created by
Irene Mecchi
Jonathan Roberts
Linda Woolverton
Voiced by
Moira Kelly
(adult, speaking)
Niketa Calame
(cub, speaking)
Sally Dworsky
(adult, singing)
Laura Williams
(cub, singing)
Gabrielle Union
(The Lion Guard)
Beyoncé (adult in the 2019 remake)
Shahadi Wright Joseph (cub in the 2019 remake)
Information
Species
Lion
Gender
Female
Family
Sarafina (mother)
Mufasa (father-in-law, deceased)
Sarabi (mother-in-law)
Kovu (son-in-law)
Scar (uncle-in-law, deceased)
Spouse(s)
Simba (husband)
Children
Kopa (son)
Kiara (daughter)
Kion (son)
Nala is a fictional lioness, a character who appears in the Disney Lion King franchise. Introduced in the animated film The Lion King in 1994, Nala subsequently appears as a less prominent character in the film's sequels The Lion King II: Simba's Pride (1998) and The Lion King 1½ (2004) and serves as a recurring character in The Lion Guard (2015-). In the original film, the adult Nala was voiced by American actress Moira Kelly. Young Nala's speaking voice is provided by actress Niketa Calame, while singers Laura Williams and Sally Dworsky provide the singing voices of young and adult Nala respectively.
Nala is introduced as the childhood best friend of Simba, and ultimately becomes his wife by the end of The Lion King. Several years after Simba's uncle Scar has killed Simba's father Mufasa and usurped the throne, Nala desperately ventures into the jungle to find help. Upon unexpectedly reuniting with a grown Simba, who she had long been tricked by Scar into presuming dead, Nala encourages him to return to Pride Rock, overthrow his uncle and ultimately become king. As Simba's queen, Nala has a daughter, Kiara, whose story is explored in The Lion King: Simba's Pride and also has a son named Kion, who serves as the protagonist of The Lion Guard
Nala is the most significant female character in The Lion King. As the film was inspired by William Shakespeare's tragedy Hamlet, Nala is considered to be The Lion King's equivalent of Hamlet's love interest Ophelia, although differences remain between the two characters. Many early concepts first developed for Nala were eventually abandoned, including a brother and father for the character, as well as her being romantically pursued by Scar. While critical reception towards Nala has been generally mixed, Kelly's vocal performance has been praised.
Nala appears in the Broadway musical adaptation of the film, first played by singer Heather Headley. The character also appears in the television series The Lion Guard, with Gabrielle Union replacing Kelly as the voice of Nala. Beyoncé is set to voice the character in the upcoming 2019 remake of the original film directed by Jon Favreau.
Contents
[hide]
1 Development
1.1 Conception and writing
1.2 Voice and music
2 Characterization and themes
3 Appearances
3.1 Film and television
3.2 Musical
4 Reception
5 References
Development[edit]
Conception and writing[edit]
Film critic James Berardinelli identified Nala as The Lion King's "sole significant female character." Screenwriter Linda Woolverton conceived Nala "as part of a gradual progression ... which have driven recent public conversation about what young girls should be able to expect from their cinematic role models."[1] In early versions of the screenplay, Nala has a younger brother named Mheetu, who enjoys accompanying his sister and her best friend Simba on their adventures.[2] Pronounced "me too", the character's name alludes to this personality trait.[2] At one point, Simba was supposed to save the cub from a wildebeest stampede,[3] and Nala would eventually become responsible for protecting Mheetu from Simba's tyrannical uncle Scar.[2] Nala also had a fox friend named Bhati.[3] According to Woolverton, Mheetu and Bhati were eventually written out of the film because their stories were beginning to distract from Simba's, in addition to the Mheetu-Scar subplot making the film too dark when combined with the death of Simba's father Mufasa.[2] At one point, Nala also had a father; the character was similarly abandoned.[4]
Because The Lion King was originally conceived as a much more mature and adult-oriented film, Nala was supposed to have been banished from the Pride Lands as punishment for rejecting Scar's romantic advances.[4] This idea was to have been further explored in Scar's song "Be Prepared (Reprise)", during which Scar demands that Nala become his queen,[5] but the musical number was ultimately cut from the final film because the scene was considered too "creepy."[5] Matthew Roulette of TheFW believes that the scene was abandoned because of the characters' significant age difference.[6] This scene however appears in the musical during the song "The Madness of King Scar", minus Scar banishing Nala.
Nala means "gift" in Swahili.[7] The character has a mother, whose name is never mentioned in the film;[8] however, she is credited as Sarafina during the film's end credits.[8] Candice Russel of the Sun-Sentinel believes that Nala contributes to the film's love story – "an indispensable factor in Disney cartoon features" – in addition to convincing Simba to return to Pride Rock.[9][10] It has been observed that, unlike Disney's three previous animated efforts (The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992), the romantic relationship between Nala and Simba is not main plot of the film. Ella Ceron of Thought Catalog observed that "At [Simba's] return, she's not exactly the friendliest little kitten, either ... but is willing to overlook her own hurt ego in the spirit of their friendship. She believes in Simba, and doesn’t understand why he wouldn’t want to fight for his right to rule."[11]
Voice and music[edit]
The speaking voice of adult Nala is provided by American actress Moira Kelly.[12] Kelly was first informed that Disney was scheduling auditions for the role of Nala by her agent.[13] Despite not having been the directors' first choice for the role initially, Kelly was allowed to audition nonetheless because the filmmakers had been longing to hear different voices.[14] Kelly believes that the directors were searching for a specific "quality of voice ... a sort of authoritative voice but with a lot of warmth" to compliment Nala's sensible yet nurturing personality.[13] After a series of callbacks, during which Kelly returned to Disney several times to read the character's lines, the final decision eventually came down to be between Kelly and one other actress.[13] It was not until several months after her audition that Kelly would finally be contacted and offered the part;[14] Disney's initial first choice for the role remains undisclosed.[14] Actor Matthew Broderick, voice of Simba, had already begun recording alongside another actress who had been cast as Nala before that actress was eventually replaced with Kelly.[15] Broderick was not informed about his original co-star being recast, and only learned that Nala was actually voiced by Kelly at the film's premiere.[15]
The film's entire recording process took approximately three years to complete, during which Kelly's sessions were held in both the United States and Canada, while her co-stars Broderick and Jeremy Irons, voice of Scar, were recording in the United States and England, respectively.[14] Each main cast member recorded their dialogue separately,[14] which took Kelly some time to get used to because she had grown accustomed to working with several other actors at a time on the sets of live-action films.[13] For The Lion King, a director would often take the place of another actor for Kelly to act opposite of.[13] Vocally, Kelly decided to approach the role as though she were reading to a child, explaining, "it's kind of fun to play with different voices and try to color the lines for the child so they can imagine it more fully", which she admitted is different than how the actress would approach a live-action role.[14] Because Nala is a "very straight character", determining what kind of voice she would use for her was not a particularly challenging task.[13] Additionally, the filmmakers would also film Kelly's performances in order to incorporate her own facial expressions into her character's design, the process of which impressed the actress.[14] In her film debut, actress Niketa Calame voices young Nala.[16][17] According to Calame's official website, Nala remains the actress' "biggest role to date".[18] A classically trained pianist and chorister, Laura Williams provides the singing voice of young Nala, which can be heard in the song "I Just Can't Wait to Be King";[16] the singer was 15 years old at the time.[16] Meanwhile, singer-songwriter Sally Dworsky provides the singing voice of adult Nala, which is heard during the song "Can You Feel the Love Tonight".[16] The film's love theme, "Can You Feel the Love Tonight"'s lyrics were re-written approximately 15 times, according to lyricist Tim Rice, who wrote the song alongside composer Elton John.[16] At one point, the producers wanted the song to be a comical duet performed by supporting characters Timon and Pumbaa,[4][19] despite the fact that John had originally composed the song with Nala and Simba in mind.[20] However, John lobbied in favor of "Can You Feel the Love Tonight" being a love song performed as a duet by Nala and Simba, with which the filmmakers ultimately agreed.[16]
When asked by Disney if she was interested in reprising her role as Nala in The Lion King II: Simba's Pride, Kelly immediately accepted, joking, "Sure, you wanna do a third, fourth, fifth? I'm right there".[14] In the case of The Lion King 1½, it took the actress only a few days to record her character's dialogue due to Nala's comparatively smaller role in the film; much of Nala's footage from the first film was simply reused accordingly.[14] Elton John's official website cites Kelly among the film's cast of actors who "would grace any red carpet."[21] Kelly's performance as Nala is responsible for introducing the actress to a younger audience. Previously, she had been better known for appearing in more adult-oriented live-action films at that time.[22] In 2011, Kelly revealed that fans of the film rarely recognize her speaking voice as the voice of Nala,[23] although Robert DeSalvo of NextMovie.com claims that the actress "has a ... distinctive voice that The Lion King fans will instantly recognize as the voice of adult Nala."[24]
Characterization and themes[edit]
A straight woman character, Kelly described Nala as a sensible and nurturing yet authoritative character,[13] while Amber Leab of Bitch Flicks described her as strong, independent and intelligent.[25] According to Oh My Disney, Nala serves as "the proverbial glue that keeps The Lion King together", from whose perspective the audience watches the film because she "says EXACTLY what we’re thinking".[26] Occupying the role of the film's female lead, Nala is The Lion King's most important female character,[27] who contributes to the film's "small romance element".[28] Often identified as the film's deuteragonist,[29][30][31] Taylor Orci of The Atlantic felt that "Nala is really the agent of change in The Lion King", dismissing Simba as a "rich, lazy boyfriend."[29] Leab observed that The Lion King's male characters tend to "take the center stage" while "female characters take a backseat to the action."[25] Lenka Křivánková of Masaryk University wrote in her thesis "1990s Hollywood Break-Away Hits: A Feminist Perspective" that she was not particularly surprised by the film's lack of strong roles for women because of its Shakespearean source material, dubbing the film "an old traditional fairy tale with all its traditional features", including patriarchy and monarchism.[27] Writing for the University of Waterloo's Kinema, Vicky Wong believes that Nala reinforces the film's "take your place" motif, reminding main character Simba of his responsibilities.[32] In his book Retelling Stories, Framing Culture: Traditional Story and Metanarratives in Children's Literature, author John Stephens credits Nala with teaching Simba about responsibility – "the lesson the hero must learn before he can become an adult".[28]
Including Nala, The Lion King has only three major female characters in comparison to the film's total of nine male ones.[27] Shepherd University's Emmylou Allen observed that Nala is introduced "as a dominating young girl" who ultimately matures into "a strong woman" by the film's conclusion.[33] Mouse Morality: The Rhetoric of Disney Animated Film author Annalee R. Ward wrote that Nala's role in The Lion King reflected "a 1990s feminist reversal".[34] In her book Biblical Allusions, author Lindsay Bacher acknowledged that Nala is often depicted as a stronger and more responsible character than Simba, despite observations that The Lion King's female characters lack agency.[35] Leab identified Nala as Simba's "equal" who is "a more naturally sound leader throughout the film, while Simba tends to be comparatively a bit more immature and in need of multiple characters propelling him into responsible/rightful action."[25] Physically, Nala is also a stronger and more skilled fighter than Simba, proven by the character's ability to overwhelm him in battle,[35][36] which is reminiscent "of the physical power of lionesses in the real nature."[27] However, as strong as she is, Nala has little impact elsewhere;[27] author Brian K. Pennington wrote in his book Teaching Religion and Violence that "Nala's assertions of gender equality are clearly groundless, since only a male lion can stop Scar."[37] New York's David Denbey dismissed Nala's athleticism as nothing more than Disney's attempt to "disguise [the film's] essential boss-daddy ethos."[38] Bacher believes that had The Lion King featured Nala as the Pride Lands' hero as opposed to Simba, the film could have avoided having a "patriarchal structure."[35] Leab concluded that "the main and most problematic aspects of the film" remain that The Lion King "boils down to the fact that an entire group of strong female characters are unable to confront a single male oppressor; to do so, they need to be led by a dominant male." Leab continued, "It almost sucks more that Nala is such a strong ... female character and still ends up constrained by this plot device", accusing the film of depicting women as weak.[25]
Alongside Faline from Bambi (1942) and Maid Marian from Robin Hood (1973) added, Nala belongs to a trio of Disney heroines who, after having been separated from their love interests for several years, eventually reunite with them.[39] Stephens believes that Nala and Simba's separation allows the characters to fall in love "properly" upon reuniting as young adults.[28] Because The Lion King is loosely based on William Shakespeare's tragedy Hamlet,[40][41][42] Nala is considered to be the film's "representative" of the Hamlet character Ophelia, Hamlet's love interest.[43] Both characters' relationships with and opinions of their love interests are similar,[44] however, there are several differences between the two women.[33] The Daily Californian's Miyako Singer argued that "Nala is no poor, tragic Ophelia", instead resembling a“fierce princess warrior" similar to the strong heroines Disney introduced during the 1990s.[45] While identifying Nala as "the closest character in The Lion King to Ophelia," Shepherd University's Emmylou Allen acknowledged in her article "Shakespeare in the Pride Lands" that "their similarities are not as great as their contrasts."[33] Unlike Ophelia, Nala does not succumb to insanity, nor does she eventually die. Instead, Nala establishes herself as "a physically powerful ally"[46] by encouraging Simba to return to Pride Rock, and helping the character overthrow Scar.[43] Additionally, Nala is a more stubborn character than Ophelia, the latter of whom is quite passive and obedient.[44] While Ophelia is raised by a single father, Nala is raised solely by her mother, which inspired Allen to believe that Nala is a manifestation of how Ophelia would have turned out had she been raised by a woman instead of a man, concluding, "Nala is able to show the potential that Ophelia could have had.".[33]
Appearances[edit]
Film and television[edit]
A young Nala debuted in The Lion King (1994) as the daughter of Sarafina and the best friend of Simba, who she often accompanies on his adventures throughout the Pride Lands. Simba invites Nala to visit the forbidden Elephant Graveyard with him, despite his father Mufasa's orders. The cubs are soon ambushed by Shenzi, Banzai and Ed, a trio of hyenas chosen by Simba's treacherous uncle Scar to kill Simba in order to improve his own chances of becoming king, but are ultimately rescued by Mufasa. The following day, however, Nala is devastated to learn from Scar that both Simba and Mufasa have perished during a wildebeest stampede. With both Simba and Mufasa dead, Scar usurps the throne and becomes king. Several years into Scar's tyrannical rule, which has left the kingdom barren and starving, a desperate Nala ventures into the jungle in search of help, where she attempts to eat a warthog named Pumbaa; little does she know that the warthog is actually a friend of Simba's, who is in fact alive and well. While defending Pumbaa from Nala, Simba recognizes Nala, and the two finally reunite only to argue over why Simba is refusing to face his responsibilities and return to Pride Rock. Upon learning that Simba has eventually decided to return to Pride Rock and face Scar, Nala travels back to the Pride Lands to assist him. Surprised to find Simba alive, Scar forces his guilt-ridden nephew to "admit" to the pride that he is responsible for Mufasa's death, which was in fact caused by Scar himself by throwing Mufasa off a cliff into the stampede. Upon learning the truth, Simba forces his uncle to admit his crime to the pride, and a battle ensues between the pride and Scar's army of hyenas. Simba eventually defeats Scar and becomes king, with Nala ultimately becoming his queen.[47]
In the film's first direct-to-video sequel The Lion King II: Simba's Pride (1998), Nala appears in a less prominent role as Queen of the Pride Lands and mother of Kiara, the spirited daughter of her and Simba. Nala observes that Kiara, of whom Simba is very protective, has inherited her father's rebellious personality and love of adventure. When Kiara befriends Zira's son Kovu, a young lion from an exiled pride of Scar's followers known as the Outsiders, Nala is much more tolerant of their relationship than Simba, and convinces him to offer Kovu a chance to prove himself trustworthy.[48]At the end of the film, Nala gains Kovu as her son-in-law after he marries Kiara. In The Lion King 1½ (2004), which focuses instead on Timon and Pumbaa's friendship, Nala's role is virtually identical to that of her appearance in The Lion King because filmmakers reused most of the character's footage from the first film.[14][49]
Voiced by actress Gabrielle Union,[50] Nala reprises her role as Queen of the Pride Lands in the television series The Lion Guard, the 2016 premiere of which was preceded by the made-for-television film The Lion Guard: Return of the Roar (2015). Set within the time gap in The Lion King II: Simba's Pride,[51] the show revolves around Nala and Simba's son Kion who, being their second-born cub after Kiara, has been tasked with forming the next Lion Guard, a group responsible for protecting the Pride Lands.[52] Although a fan of the Lion King franchise, Union avoided watching previous Lion King films in preparation for the role because she wanted to "put [her] own stamp" on the character.[53]
On November 1, 2017, it was confirmed that Beyoncé would voice adult Nala in Jon Favreau's The Lion King, which is expected to be released in July 19, 2019.[54] The same day Shahadi Wright Joseph was cast as young Nala in the film.[55]
Musical[edit]
In the Broadway musical adaptation of The Lion King, the role of Nala was originated by Trinidadian-American singer Heather Headley. Her Broadway debut,[56] at first auditioning for the role proved a challenge for the singer due to her Ragtime contract, which her agent was eventually successful in getting her released from.[57] Director Julie Taymor felt that Nala's journey in the film was underdeveloped and among the story's weaker elements, and thus decided to "strengthen" the character's narrative for Broadway.[58]
Her role in the musical remains the same as the film except for a scene where during the song "The Madness of King Scar", Nala comes to Scar to urge him to do something about the drought in the Pride Lands, only for Scar to try and seduce her into becoming his queen and mother of his children. Nala refuses since she's already been betrothed to Simba, prince of the Pride Lands as an infant by their parents, Sarafina, Mufasa and Sarabi and flees the Pride Lands to find help.
Reception[edit]
Critical reception towards Nala has been generally mixed; both film and feminist critics have accused the film of lacking empowering roles for female characters, including Nala.[25][27][59] James Berardinelli of ReelViews appreciated the fact that "after three animated motion pictures centered upon the love of two people from different worlds", the love story between Nala and Simba has been relegated to that of "a subplot."[60] Desson Howe of The Washington Post advised parents to remind their daughters that despite the fact that Nala "pads in the supportive shadows, awaiting her inevitable marriage to Simba, it doesn't mean human girls can't grow up to be monarchs too."[61]
Nala's role and demeanor during the film's romantic "Can You Feel the Love Tonight" sequence has drawn criticism in regards to her "submissive behaviour".[27] The New York Times' Janet Maslin cited the film's lack of a strong heroine among its weaknesses, dismissing Nala and Simba's interaction throughout "Can You Feel the Love Tonight" as "obligatory" and "gratuitous".[59] Joel W. Martin wrote in the Journal of Religion and Film, "One song later, [Nala and Simba] have fallen in love. Playing one day, they literally tumble down a hillside in the jungle, and he ends up on top of her. This time, she does not bear her teeth, but instead, shows 'bedroom eyes'". Martin ultimately accused the scene's "reversal of positions" of "establish[ing] male dominance."[36] Criticizing the film for "being merely distracting when it could have been both meaningful and instructive", Robert Humanick of Slant Magazine wrote, "Small potatoes, then, when Simba's former childhood friend and betrothed queen Nala ... unexpectedly reappears in his duty-free, protein-rich life, demanding he return to his kingly responsibilities and coaxing the lion to sleep tonight with arguably the most blatant 'fuck me now' face to ever appear in a PG-rated film."[62]
However, the character has garnered positive reviews as well. Sara Franks-Allen of ScreenCrush wrote that "If being a Disney princess is about being a good role model for little girls, then Nala has a lot in her favor", elaborating, "She's strong enough to take down Simba, ventures out on her own to find help for her pride and calls Simba out for ignoring his responsibilities."[63] Meanwhile, Ella Ceron of Thought Catalog ranked Nala 14th on her list of "The 16 Most Awesome Female Characters From Disney Movies".[11] Responsible for introducing the seasoned actress to a younger audience,[22] Kelly's vocal performance as Nala has garnered critical acclaim. Writing for The Washington Post, Desson Howe hailed Kelly's voice acting as "terrific."[61] Jeremy Gerard of Variety commended Kelly for voicing the character "beautifully".[64] PopSugar ranked Kelly among the website's "Favorite Animated Voices", writing, "there are a lot of great voices in Disney's The Lion King ... but Moira Kelly has a unique quality to her voice, and I remember reveling in it as a youngster anytime the adult Nala was on the screen."[65] Official Disney Blogs published an article entitled "We All Thought it… But Nala Actually Said It", which cites the character's most revered quotes.[26] The blog also ranked Nala eighth on the website's "Definitive Ranking of Disney Cats" list.[66] In a 2014 interview, actor Eddie Redmayne admitted that Nala was his first "celebrity crush",[67] having been specifically attracted to the character's "sweet" face and singing voice,[68] referring to the experience as his "sexual awakening".[69]
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Jump up ^ Singer, Miyako (November 7, 2016). "'The Lion King' star Nia Holloway talks making history, getting high school diploma on tour". The Daily Californian. Retrieved January 31, 2018.
Jump up ^ Trice, Ashton D (2001). Heroes, Antiheroes and Dolts: Portrayals of Masculinity in American Popular Films, 1921-1999. United States: McFarland. p. 190. ISBN 9780786410972.
Jump up ^ Allers, Roger (director); Minkoff, Rob (director) (June 24, 1994). The Lion King (Motion picture). Buena Vista Pictures. CS1 maint: Multiple names: authors list (link)
Jump up ^ Rooney, Darrell (director) (October 27, 1998). The Lion King II: Simba's Pride (Motion picture). Walt Disney Home Video.
Jump up ^ Raymond, Bradley (director) (February 10, 2004). The Lion King 1½ (Motion picture). Walt Disney Home Entertainment.
Jump up ^ McCarthy, Tyler (August 12, 2015). "'Lion King' Sequel Series 'The Lion Guard' To Debut On Disney With Several Original Characters Recast". International Business Times. IBT Media Inc. Retrieved March 1, 2016.
Jump up ^ Brett, Susan (February 8, 2016). "EXCLUSIVE INTERVIEW: Disney's The Lion Guard creator Ford Riley talks new Lion King sequel". TVdaily.com. Retrieved November 25, 2016.
Jump up ^ Shamsian, Jacob (June 10, 2014). "Disney to launch animated 'Lion King' spinoff 'The Lion Guard'". Entertainment Weekly. Entertainment Weekly Inc. Retrieved March 1, 2016.
Jump up ^ Jones, Jaleesa M. (November 16, 2015). "Gabrielle Union: 'The Lion Guard' is 'my dream come true'". USA Today. Retrieved March 1, 2016.
Jump up ^ Verhoeven, Beatrice. "Beyonce Will Voice Nala in Live-Action Adaptation of 'The Lion King'". TheWrap. Retrieved 1 November 2017.
Jump up ^ "Shahadi Wright Joseph as Young Nala". New York Daily News. November 2, 2017. Retrieved November 4, 2017.
Jump up ^ Kinnon, Joy Bennett (July 1998). "The Lion King". Ebony. pp. 121–124. Retrieved January 19, 2016.
Jump up ^ Cheesman, Neil (June 28, 2014). "Interview with Heather Headley". LondonTheatre1. London Theatre One. Retrieved December 21, 2015.
Jump up ^ Ouzounian, Richard (April 25, 2014). "Julie Taymor, queen of The Lion King". The Toronto Star. Toronto Star Newspapers Ltd. Retrieved December 21, 2015.
^ Jump up to: a b Maslin, Janet (June 15, 1994). "The Lion King (1994) Review/Film; The Hero Within The Child Within". The New York Times. The New York Times Company. Retrieved November 8, 2015.
Jump up ^ Berardinelli, James. "'The Lion King'". ReelViews.net. ReelViews. Retrieved September 28, 2017.
^ Jump up to: a b Howe, Desson (June 24, 1994). "'The Lion King'". The Washington Post. The Washington Post Company. Retrieved November 3, 2015.
Jump up ^ Humanick, Rob (September 12, 2011). "The Lion King". Slant Magazine. Retrieved November 3, 2015.
Jump up ^ Franks-Allen, Sara (July 29, 2013). "10 Forgotten Disney Princesses". ScreenCrush. Townsquare Media, Inc. Retrieved December 19, 2015.
Jump up ^ Gerard, Jeremy (June 13, 1994). "Review: 'The Lion King'". Variety. Variety Media, LLC. Retrieved November 9, 2015.
Jump up ^ "Favorite Animated Voices". PopSugar. POPSUGAR Inc. Retrieved November 3, 2015.
Jump up ^ "A Definitive Ranking of Disney Cats". Official Disney Blogs. Disney. 2015. Retrieved January 17, 2016.
Jump up ^ Campbell, Tina (December 23, 2014). "Eddie Redmayne admits first crush was Nala from Disney's The Lion King". Metro. Associated Newspapers Limited. Retrieved December 19, 2015.
Jump up ^ Finn, Natalie (December 19, 2014). "So Anna Kendrick and Eddie Redmayne Used to Have a Thing for Animated Animals—and Liam Neeson Had the Hots for a Cartoon Too!". E!. Entertainment Television, LLC. Retrieved December 20, 2015.
Jump up ^ Marquina, Sierra (December 22, 2014). "Eddie Redmayne Admits to "Sexual Awakening" During The Lion King, Says Nala Was "So Sweet" -- Watch". Us Weekly. Us Weekly. Retrieved December 20, 2015.
[hide]
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The Lion King
Films
The Lion King (1994)
The Lion King II: Simba's Pride
The Lion King 1½
The Lion King (2019)
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Attractions
Circle of Life: An Environmental Fable
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