The King and Queen arrive and confront Wenlock, but he laughs and cryptically reminds the king and queen of the fate of their 'other daughter'. A powerful sorcerer named Wenlock appears, and orders the princess to marry him. As a result, the overprotective King and Queen forbid her from going skating ever again.Īnnoyed, Annika sneaks out to join a skating festival in the village that night. On her birthday, Princess Annika worries her parents by going outside to ice skate without permission, and bringing home a 'possibly dangerous' polar bear cub named Shiver. On her quest to defeat Wenlock, Annika meets new friends and together they travel to forbidden forests, skate through icy caverns and fly above the clouds as they attempt to build a magical wand of light.' Plot Annika has only three days to break the spell of Wenlock, an evil wizard who has turned her family to stone.

Princess Annika discovers adventure when she is befriended by Brietta - a magnificent winged horse - that flies her to the beautiful Cloud Kingdom. In a nutshell, the movies are magical because they tell us myths that allow us to see our lives as worth living, helping to restore our faith in the wellsprings of human value: romantic love, individual autonomy, nonconformity, and the search for self-improvement.'Barbie takes flight in her first original princess fairy tale movie, Barbie and the Magic of Pegasus. Cavell's general thesis, I take it, is that films can pose particularly satisfying responses to the skepticism we all harbour about our most deeply held values. Throughout, I show how the specific film interpretations he proposes serve as archetypal examples of crucial features of his philosophy. World Viewed (1979), Pursuits of Happiness: The Hollywood Comedy of Remarriage (1984), and Contesting Tears: The Hollywood Melodrama of the Unknown Woman (1997), and will conclude with an analysis of Cavell's discussion of Emersonian perfectionism in Cities of Words (2005). The survey will continue by considering the expanded edition of The. In order to explain Cavell's account of what makes movies so magical, this article will offer a chronological survey of his major writings on film, beginning with the first edition of The World Viewed (1971), where he poses an intriguing theoretical hypothesis about what distinguishes the movies from the other major art forms. Keywords: Presupposition, UN’ General Assembly, Kim Namjoon’s Speech So, the most dominant type is commonly used in the Kim Namjun’s Speech at UNs General Assembly is existential presuppositions. With the percentage of existential is 20 or 62.05%, lexical are 9 or 28, 12%, structural are 2 or 6.25 %, and the last non-factive is just 1 or 3,12%.

The result of this study shows that there are four types of presupposition in the speech existential presuppositions, lexical presupposition, non-factive presupposition, and structural presupposition. In analyzing, the research watched the speech which lasts about six minutes, then transcribed, and analysed based on Guswita & Widodo's theory (2019). They mention that six types of presupposition, there are existential presupposition, factive presupposition, lexical presupposition, structural presupposition, non-factive presupposition, and counterfactual presupposition.

The research method used qualitative descriptive and it is used to analyse the speech as a sample based on Guswita & Widodo's theory. The objectives of this research are to know the types of presupposition and to find out the most dominant type of presupposition in the speech of Kim Namjun. It is a descriptive analysis of speech that used types of presuppositions”. This research entitled ”Presupposition in Kim Nam Joon’s Speech at United Nation General Assembly.

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