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Journal articles on the topic 'Disney film'
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Sheen, Erica. "101 and Counting: Dalmatians in Film and Advertising." Worldviews: Global Religions, Culture, and Ecology 9, no. 2 (2005): 236–54. http://dx.doi.org/10.1163/1568535054615385.
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AbstractIn both academic and animal welfare circles, Disney's live action films 101 and 102 Dalmatians have been criticised as a commercial exploitation of the breed. From this perspective, it was widely held that the Dalmatian has been subject to over-breeding and abandonment as a direct result of these films, and that Disney should be held responsible for this abuse. I question these assumptions. I discuss the Hollywood animal image as a form of intellectual property and provide a detailed account of negotiations between Disney and Dalmatian breed associations in America and the UK. In response to critics who described the films as "an advertisement for the breed", I suggest that Disney's animal imagery should be seen as a more complex cultural and economic negotiation between filmmaker and audience, and conclude that our understanding of the commercial deployment of the Dalmatian image must be situated in a more nuanced account of the relationship between advertising and film.
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Macaluso, Michael. "Postfeminist Masculinity: The New Disney Norm?" Social Sciences 7, no. 11 (November 5, 2018): 221. http://dx.doi.org/10.3390/socsci7110221.
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A recent trend in Disney scholarship attends to postfeminist readings of Disney film and media. This paper contributes to that conversation by focusing on the representations of masculinity that accompany postfeminist sensibilities in and through Disney media and its reception. With a sociological focus on postfeminist masculinity, this article reviews several Disney characters to argue for a new model of postfeminist masculinity advanced in recent Disney films, with a particular focus on the Incredibles films, and examines how this representation has been received in popular media.
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Oktarina, Rizki Nurmaya. "Ambiguitas yang Mencerminkan Rasisme dalam Film The Princess and The Frog." Paradigma, Jurnal Kajian Budaya 4, no. 2 (March 11, 2016): 161. http://dx.doi.org/10.17510/paradigma.v4i2.50.
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<p>Princess fairy tales have made the Disney Corporation so famous. At fi rst, Disney princesses were white skinned. As time goes by, Disney started fi lming animated movies with colored princesses. In 2009, Disney released a movie based on an African-American princess named Tiana in ‘The Princess and the Frog’ (2009). Ambiguities in terms of understanding black appear in the fi lm. To help analyzing this movie, Barthes’ semiotics theory will be used. By using that theory, the writer proposes that on one hand, Disney conveys that America has become “color blind,” but on the other, blacks are positioned as lower class. This movie refl ects Disney’s belief in what is true and ideal about the American society, but here we see that the notion “all men are created equal” writt en in the declaration of Independence is not fully implemented in the American society.</p>
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Saraswati, Rina. "DISTORSI DALAM FILM ADAPTASI “SNOW WHITE” VERSI DISNEY DAN NONDISNEY TERHADAP KARYA GRIMM BERSAUDARA (The Distortion in Disney’s and Non-Disney’s Film Adaptation on the Grimm Brothers’ “Snow White” )." METASASTRA: Jurnal Penelitian Sastra 7, no. 1 (March 11, 2016): 85. http://dx.doi.org/10.26610/metasastra.2014.v7i1.85-96.
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Dongeng karya Grimm bersaudara telah banyak diadaptasi ke dalam media film, salah satunya adalah “Snow White”. Penelitian ini membahas distorsi yang muncul dalam dua film adaptasi “Snow White”, yaitu “Snow White and the Seven Dwarfs” (1937) produksi Disney dan “Snow White and the Huntsman” (2012) produksi Universal Pictures. Dengan metode penelitian kualitatif berupa analisis deskriptif, ditemukan bahwa setiap adaptasi tersebut melakukan perombakan besar terhadap isi cerita yang menyebabkan perbedaan dengan sumber aslinya, yakni karya Grimm bersaudara. Film “Snow White” yang diproduksi oleh Disney mengalami proses adaptasi cerita, yakni dengan mengubah cerita yang pantas dan mudah diterima anak-anak. Adapun film produksi Universal Pictures menghasilkan suatu karya adaptasi yang berbeda, yaitu dengan adanya pengurangan atau penambahan dari cerita aslinya. Perubahan cerita tersebut ditujukan untuk menarik minat penonton. Hasil penelitian menunjukkan bahwa salah satu alasan perubahan yang dilakukan pada dua film adapatasi tersebut disebabkan oleh target penonton yang berbeda.Abstract:Grimm Brothers’ tales have been adapted into films. One of them is the story of Snow White. This study is to examine the distortion appearing in two Snow White film adaptations, namely: “Snow White and the Seven Dwarfs” (1937) by Disney as well as “Snow White and the Hunts- man” (2012) by Universal Pictures. By applying qualitative method, it is found that each film adaptation makes a lot of changes in its plot from its original version in the Grimm Brothers’. “Snow White” produced by Disney was changed into children story that was simpler and easier to understand. The one produced by Universal Picture, on the other hand, was made into different story by reducing or adding its original story. The change of the story is aimed at gaining more viewers. The result of the research reveals that one of changes in the two film adaptations is due to their different viewers target.
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Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 23–42. http://dx.doi.org/10.1386/ffc_00010_1.
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Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess and the Frog (Clements and Musker, 2009), Tangled (Greno and Howard, 2010), Brave (Andrews and Chapman, 2012), Frozen (Buck and Lee, 2013) and Moana (Clements and Musker, 2016). This article first explores the films' use of costume simultaneously to establish the childness of the characters and visually foreshadow the 'princesses' they will become. It then turns to the implied child audience of these films, considering the Disney Princess line of merchandise and the role of clothing and costume within it.
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CAMP, GREGORY. "Mickey Mouse Muzak: Shaping Experience Musically at Walt Disney World." Journal of the Society for American Music 11, no. 1 (January 16, 2017): 53–69. http://dx.doi.org/10.1017/s1752196316000523.
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AbstractThe academic assessment of the products of the Walt Disney Company is usually highly negative, drawing out their sexist, racist, and mercenary factors. Although such views are not easily denied, their strong ideology often hides how Disney texts actually operate and how their audiences interact with them. This article explores how recorded music is used in the Disney theme parks to condition audience response, finding a middle ground between an ideological view, exploring the part music plays in social control, and a hermeneutic view, seeing how music functions in articulating and enhancing the experiences in which Disney's guests participate. Disney's Imagineers draw on the language of film music to create a wide variety of narrative musical spaces that give guests the impression that they navigate through these carefully staged narratives as protagonists. Film-musicological models show that guests are encouraged to feel that they control the respective spaces, although filtering the model through critical theory will demonstrate that the spaces can actually be seen as controlling them. While critical theory and structuralist hermeneutics might seem at first like strange bedfellows, analyses of both the narratives themselves and of their social effects can usefully reflect each other, together providing a more nuanced view of Walt Disney World's experiential texts than has been presented either in the academy or by Disney itself.
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Salsabil, Luna Safitri. "ANALISIS MAKNA PEREMPUAN MASKULIN PADA FILM DISNEY BRAVE DAN MOANA." DIALEKTIKA KOMUNIKA: Jurnal Kajian Komunikasi dan Pembangunan Daerah 7, no. 2 (December 1, 2019): 157–74. http://dx.doi.org/10.33592/dk.v7i2.368.
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Perempuan dalam konstruksi sosial selalu digambarkan feminim, seperti pada film Disney. Namun film Disney saat ini di awal tahun 2010an, muncul pergeseran citra perempuan pada film animasi Disney khususnya film Brave dan Moana. Perempuan yang pada dahulu film Disney mencitrakan diposisi subordinasi, dependen, dan pasif kini berubah menjadi sosok yang mandiri, mampu memimpin, aktif dan tidak membutuhkan laki-laki. penelitian ini bertujuan melihat bagaimana media memaknai perempuan maskulin. Teori yang digunakan teori gender yang membahas bagaimana konstruksi dan memetakan gender. Penelitian ini bersifat kualitatif dengan semiotika Chris Mertz dalam mengintrepretasi data. Paradigma dalam penelitian ini adalah konstruktivis sehingga dapat menjelaskan bagaimana makna dibentuk. Hasil penelitian ini mengkonstruksikan perempuan menjadi tokoh utama dalam film brave (merida) dan moana (moana) yang mengarah pada karateristik maskulin. Seperti kuat, rasional, berani, mandiri, petarung, bernegosiasi. Saran dari penelitian ini diharapkan penelitian ini dapat menjelaskan media memaknai perempuan dan referensi mengenai studi gender
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Primo, Cassandra. "Balancing Gender and Power: How Disney’s Hercules Fails to Go the Distance." Social Sciences 7, no. 11 (November 16, 2018): 240. http://dx.doi.org/10.3390/socsci7110240.
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Disney’s Hercules (1997) includes multiple examples of gender tropes throughout the film that provide a hodgepodge of portrayals of traditional conceptions of masculinity and femininity. Hercules’ phenomenal strength and idealized masculine body, coupled with his decision to relinquish power at the end of the film, may have resulted in a character lacking resonance because of a hybridization of stereotypically male and female traits. The film pivots from hypermasculinity to a noncohesive male identity that valorizes the traditionally-feminine trait of selflessness. This incongruous mixture of traits that comprise masculinity and femininity conflicts with stereotypical gender traits that characterize most Disney princes and princesses. As a result of the mixed messages pertaining to gender, Hercules does not appear to have spurred more progressive portrayals of masculinity in subsequent Disney movies, showing the complexity underlying gender stereotypes.
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Beveridge, Allan. "Images of madness in the films of Walt Disney." Psychiatric Bulletin 20, no. 10 (October 1996): 618–20. http://dx.doi.org/10.1192/pb.20.10.618.
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It has been demonstrated that images of madness in the media powerfully influence the general public and serve to perpetuate popular stereotypes of mental illness (Philo et al, 1993). While the cinema's treatment of psychiatric issues has received critical attention (Gabard & Gabard, 1987), there is one area of film-making that has, so far, been neglected: the work of Walt Disney. Perhaps, because it has been primarily regarded as entertainment for children, Disney's work has not been subjected to serious examination. This neglect, however, is surprising in view of the current debate about the influence of the media on children. When one also considers that Disney films are now available on video and are being seen by millions, it seems worthwhile to look at the images of madness they present.
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Bettella, Patrizia. "Collodi's Puppet in Film: Disney, Comencini, Benigni." Quaderni d'italianistica 25, no. 1 (January 1, 2004): 9–27. http://dx.doi.org/10.33137/q.i..v25i1.9208.
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Neuman, Robert. "Disney’s Final Package Film: The Making and Marketing of The Adventures of Ichabod and Mr. Toad (1949)." Animation 14, no. 2 (July 2019): 149–63. http://dx.doi.org/10.1177/1746847719858678.
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As the last of Disney’s package films in the troubled decade of the 1940s, The Adventures of Ichabod and Mr. Toad (1949) has acquired the reputation of an awkward ‘marriage of convenience’ of two separate stories based on well-known literary properties, one American and one British: Washington Irving’s The Legend of Sleepy Hollow and Kenneth Grahame’s The Wind in the Willows. This article, by reconstructing the gestation of the film over eight years, demonstrates the degree to which the stark contrast between the two halves was not only inevitable but deliberate. This is especially visible in the handling of the narrative – action set pieces for Toad and a full-fledged musical for Ichabod – as well as the art direction, which favors realism for Toad and stylization for Ichabod. An analysis of the marketing campaign shows that the film was presented as a facsimile of the standard double bill of the period, with an A picture and a B picture. In lauding its new cast of sympathetic Disney characters and stories that stimulate a full range of emotional responses, some film critics in Britain and the US compared Ichabod and Mr. Toad favorably to Snow White and the Seven Dwarfs, Dumbo and the Silly Symphonies, calling the film a harbinger of a Disney renaissance – a revival that would be fully realized with the premiere of Cinderella in 1950.
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Martínez, Alejandra, and Aldo Merlino. "Discourse and socialization in children´s cinematographic productions." Comunicar 13, no. 26 (March 1, 2006): 125–30. http://dx.doi.org/10.3916/c26-2006-19.
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Understanding that cultural products for children transmit social representations and reproduce specific outlines of attitudes and behaviours, this paper focuses on the gender construction based on specific messages in children´s films. We analyze here, the 1991 Disney´s Company cartoon film «The Beauty and the best». Entendiendo que los productos culturales dirigidos a los niños son transmisores de representaciones sociales y reproducen esquemas específicos de actitudes y comportamientos, este artículo aborda la temática de la construcción de los géneros a partir de mensajes específicos en producciones cinematográficas infantiles. Se analiza aquí, en torno al tema planteado, el film animado de 1991 de la compañía Disney «La bella y la bestia»
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Wang, Lei, Bing Han, and Guofei Xu. "Cultural Differences in Mulan between Chinese Version and Disney Version." Theory and Practice in Language Studies 10, no. 10 (October 1, 2020): 1332. http://dx.doi.org/10.17507/tpls.1010.22.
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This article puts Chinese Mulan and Disney Mulan's plots as the starting point, analyzes of the adaptation of the plots to show the different cultural significance given by different nationalities. The purpose of this paper is to research the cultural differences reflected in the films made by Hua Mulan in different countries. In this era of globalization, and in the face of different cultures, only by taking its essence and its dross will produce masterpieces that attract worldwide attention. There are indeed many cultural differences between the Chinese film Mulan and the American film Mulan. After analyzing the reasons for the differences, this study summarizes the enlightenment of these differences to cross-cultural research and shows some views.
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Benhamou, Eve, and Eve Benhamou. "From the Advent of Multiculturalism to the Elision of Race: The Representation of Race Relations in Disney Animated Features (1995-2009)." Exchanges: The Interdisciplinary Research Journal 2, no. 1 (August 27, 2014): 153–67. http://dx.doi.org/10.31273/eirj.v2i1.106.
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As one of the most powerful purveyors of entertainment in the world, the Disney company has produced blockbuster films, including animated features that have enjoyed enduring popularity. Reflecting and shaping to some extent American popular culture and ideology, they have left vivid images in our memory. Arguably, one of Disney’s most ubiquitous symbol is the beautiful white princess. The representation of race relations in Disney films has always been problematic, sometimes sparking heated debates: non-white characters were either absent or stereotypically portrayed. Nonetheless, in parallel with the advent of multiculturalism in the 1990s, a series of films have foregrounded a new approach on these portrayals, the most notable being Pocahontas (1995), Atlantis (2001), and The Princess and the Frog (2009). In this article, I will examine the evolution of the representation of race, focusing on the film texts and their historical and cultural context, production history, and critical reception. I will argue that the apparent messages of tolerance and promotion of multiculturalism were accompanied and slowly replaced by a colour-blind erasure of race.
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Chen, Rui, Zhiyi Chen, and Yongzhong Yang. "The Creation and Operation Strategy of Disney’s Mulan: Cultural Appropriation and Cultural Discount." Sustainability 13, no. 5 (March 4, 2021): 2751. http://dx.doi.org/10.3390/su13052751.
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The purpose of this paper is to explore Disney Mulan’s cultural appropriation strategy and the cultural discount phenomenon formed in the Chinese market from the perspective of users and discuss the creation and operation strategy of the film. In 2020, Disney released a new film that originated in China, Mulan, but received negative reviews from the Chinese consumer market. Taking this as an example, this paper uses NVivo and ROSTCM to conduct content-coding and text analysis on creators’ interview records and consumer comments and seeks for the differences in understanding between Chinese audiences and creative teams. The results show that cultural appropriation is an effective strategy for film creation, but cultural appropriation based on misinterpretation will lead to cultural discounts in the operation of films. Therefore, corresponding strategies during film creation and operation should be adopted to better realize the sustainable development of culture.
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Yusriana, Amida, and Antika Nurinsa. "PESAN SUBLIMINAL MENGANDUNG UNSUR SEKSUAL DALAM FILM DISNEY COCO." Jurnal Audience 3, no. 1 (October 19, 2020): 99–116. http://dx.doi.org/10.33633/ja.v3i1.3704.
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AbstrakSebuah film akan dianggap layak tonton setelah melalui proses sensor dan penyaringan. Pada tahun 2017, Disney meluncurkan sebuah film berkategori anak-anak berjudul Coco. Film ini cukup sukses di pasaran dan memperoleh review yang baik. Idealnya, Coco adalah sebuah film kategori semua umur yang di dalamnya tidak mengandung unsur pelanggaran kategori, namun kenyataannya ditemukan unsur pelanggaran pornografi untuk kategori usia dengan menggunakan metode pesan subliminal. Maka penelitian ini bertujuan mengungkapkan bagaimana pesan subliminal dikemas dalam film Coco. Penelitian ini menggunakan paradigma kritis dan metode semiotika sebagai metode operasionalnya. Teori yang digunakan adalah teori pesan subliminal. Hasil menunjukkan terdapat tiga pesan subliminal visual bernuansa seksual yakni Motorboating, French Kiss dan Nude Art.Kata Kunci: Pesan Subliminal, Semiotika, Coco, Film AbstractA published movie should have passed the censorship and screening process. In 2017, Disney produced a G rated movie titled Coco. This movie was succeed and gained favourable review. Ideally, Coco is a G rated movie thus there should no any qualification violence inside, but in fact there are some violences in the sexual aspect. This research aims to reveal how the subliminal message is packaged within the Coco Movie. This research uses the critical paradigm and semiotics as the operational method. Subliminal message theory is used to understand the research. The result shows that there are three visual sexually subliminal messages: Motorboating, French Kiss and Nude Art. Keywords: Subliminal Message, Semiotics, Coco, Film
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Biasini, Naurissa. "Pergeseran Representasi Feminitas dalam Film Animasi Disney Princess." WIDYAKALA JOURNAL 5, no. 2 (February 14, 2019): 111. http://dx.doi.org/10.36262/widyakala.v5i2.113.
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Rozario, Rebecca-Anne Do. "Reanimating the Animated: Disney's Theatrical Productions." TDR/The Drama Review 48, no. 1 (March 2004): 164–77. http://dx.doi.org/10.1162/105420404772990754.
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Metamorphosis is the cornerstone of Disney animation. Princes are turned into beasts and lions into matinee idols. Accomplishing this filmic flexibility onstage is central to Disney's expansion into theatrical production. Broadway's Beauty and the Beast, and the productions that came after, show how the elasticity of film animation can be recreated live in the theatre.
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Mota, Ilka De Oliveira, Maria Norma Lopes Souza Silva, and Joelma Alves Araujo. "BRANCA DE NEVE E OS SETE ANÕES: UMA ANÁLISE DISCURSIVA DO FILME DE WALT DISNEY." Revista DisSoL - Discurso, Sociedade e Linguagem, no. 9 (July 9, 2019): 5. http://dx.doi.org/10.35501/dissol.v0i9.410.
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Resumo:Este artigo tem por objetivo fundamental analisar discursivamente os modos de representação imaginária sobre o trio: mulher, amor e o trabalho, a partir da versão fílmica da narrativa “Branca de Neve e os sete anões”. Trata-se do filme de Walt Disney produzido na década de 40 do século XX. Para isso, apoiamo-nosno aparato teórico-metodológico da Análise de Discurso de cunho materialista, mobilizando conceitos como formação discursiva, imaginário e texto. Palavras-chave: Imaginário; discurso; Branca de Neve e os Sete Anões; materialidade fílmica. SNOW WHITE AND THE SEVEN DWARFS: A DISCURSIVE ANALYSIS OF THE WALT DISNEY MOVIEAbstract:This article aims to analyze discursively the modes of imaginary representation about the trio: woman, love and work, from the filmic version of the narrative "Snow White and the Seven Dwarfs". This is the Walt Disney film produced in the 1940s. For this, we rely on the theoretical-methodological apparatus of DiscourseAnalysis of a materialistic nature, mobilizing concepts such as discursive formation, imaginary and text.Key-words: Imaginary; discourse; Snow White and the Seven Dwarfs; the materiality of film.
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Lönroth, Linn. "‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation." Animation 16, no. 1-2 (July 2021): 36–50. http://dx.doi.org/10.1177/17468477211025666.
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This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.
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Adira, Myesha, and Wulan Purnama Sari. "Representasi Perempuan dalam Film Dangal Karya Disney dan Aamir Khan Productions." Koneksi 2, no. 2 (May 9, 2019): 472. http://dx.doi.org/10.24912/kn.v2i2.3925.
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Dangal merupakan film keluarga dengan genre drama bertemakan olahraga yang diproduksi oleh Walt Disney Pictures dan Aamir Khan Productions karya sutradara Nitesh Tiwari. Film yang diangkat dari kisah nyata ini, menceritakan tentang dua orang kakak beradik perempuan asal India bernama Geeta dan Babita, yang mengalami kehidupan tidak sewajarnya seperti perempuan kebanyakan. Geeta dan Babita sengaja dilatih oleh sang ayah menjadi atlet gulat untuk dapat mengibarkan bedera negaranya dalam ajang kejuaraan olimpiade, yang mana olahraga gulat sangat terkenal di India. Film ini berbeda dari film-film Disney terdahulu, karena dalam film Dangal ini menggambarkan perempuan mengambil peran yang sebelumnya didominasi oleh laki-laki dalam bidang gulat. Penelitian ini bertujuan untuk mengetahui bagaimana representasi perempuan di dalam film tersebut. Dalam menganalisis film ini, metode yang digunakan yaitu semiotika yang dipelopori oleh Roland Barthes, yang membagi ke dalam denotasi, konotasi dan mitos. Hasil penelitian menunjukkan adanya pergeseran penggambaran perempuan sebagai karakter yang kuat dan berani, perempuan dengan sikap feminime mampu untuk bersaing dengan laki-laki.
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MACDONALD, SCOTT. "Up Close and Political: THREE SHORT RUMINATIONS ON IDEOLOGY IN THE NATURE FILM." Film Quarterly 59, no. 3 (2006): 4–21. http://dx.doi.org/10.1525/fq.2006.59.3.4.
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ABSTRACT Why is nature filmmaking generally absent from histories and theorizations of cinema, and why do films like March of the Penguins receive such grudging attention from serious critics? By exploring ideological dimensions of two formative influences (Jean Painlevéé and the Disney True-Life Adventures), along with a recent National Geographic special on the Sonoran desert and the film Microcosmos, MacDonald demonstrates why nature film should be taken seriously.
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Briefel, Aviva. "Mickey Horror." Film Quarterly 68, no. 4 (2015): 36–43. http://dx.doi.org/10.1525/fq.2015.68.4.36.
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Randy Moore's horror film Escape from Tomorrow (2013) was shot at Disneyland, Epcot, and Disney World, without either the authorization or knowledge of the Disney corporation. The result is a fascinating example of guerrilla filmmaking that makes use of gothic conventions to craft a new narrative of corporate horror. Both the film and its promotional materials narrate the vicissitudes of countering a mass-culture corporation that has become synonymous with American fantasies and imaginaries. And yet, however revolutionary his methods and overall narrative, Moore relies on long-familiar images of monstrous femininity to convey the circumstances of mass-culture seduction. The end result is less an attack on the institution of Disney itself than a gothic account of the parks' co-option by a dangerous female consumerism that nullifies male resistance or escape.
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Ko, Fuji. "Esoteric Symbolism in Animated Film Storytelling." Chinese Semiotic Studies 14, no. 3 (August 28, 2018): 347–70. http://dx.doi.org/10.1515/css-2018-0021.
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Abstract Esoteric symbolism of various kinds is dispersed in media for mass communication, and from the semiotic perspective, films, historically the primary medium for motion pictures, are the most powerful weapons for worldwide attraction. In this paper, two famous cartoon animated movies by Disney, Moana and Zootopia, are under analysis. For one thing, they use profound symbols in conveying a message to the audience, especially to children, and for another, their impact on society is wide due to the breadth and diversity of Disney-branded products. Thus, the present paper discusses these two movies using semiotic theories of signs, codes, and symbols, weaving them together to trace the system of communication between the text (here referring to the cinematic texts) and its audience, and especially how a heroine frame is built in the adventure genre. Interpreting the hidden meaning or occult symbolism requires a special kind of knowledge if we aim to convey the essence of the story to our children beyond merely knowing the plot of the film. The films Moana and Zootopia feature a number of interior or hidden elements such as metaphors and allegories, and illuminati or esoteric symbolism, even though they are animated ones.
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Uzuegbunam, Chikezie, and Chinedu Richard Ononiwu. "Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie." Romanian Journal of Communication and Public Relations 20, no. 2 (July 1, 2018): 5. http://dx.doi.org/10.21018/rjcpr.2018.2.256.
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This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquire such negative emotions as fear and anxiety, and behaviors like retaliation and passivity. The possibility of these adverse effects is even of greater concern in Africa and similar contexts which are at the receiving end of cultural products such as films that emanate from the West. The findings suggest that the negative portrayal of ‘people of color’ or other characters that represent them, by American film producers and directors seems to be a reoccurring phenomenon. Significantly, from an African perspective, this study corroborates scholars’ position that Disney has continued to portray ‘people of color’ negatively over the years.
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Llompart, Auba, and Lydia Brugué. "The Snow Queer? Female Characterization in Walt Disney’s Frozen." Adaptation 13, no. 1 (July 29, 2019): 98–112. http://dx.doi.org/10.1093/adaptation/apz019.
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Abstract Hans Christian Andersen’s fairy tale ‘The Snow Queen’ (1845) and its film adaptations have been examined from multiple perspectives by previous scholarly criticism. Recently, Gender and Queer theories have placed particular emphasis on the presence of non-normative romantic relationships between characters, namely, attraction between a young boy and an older woman (Kay and the Snow Queen), homoeroticism (Gerda and the Robber Girl), and even incestuous desire (Kay and Gerda), among others. In this paper, we will concentrate on how the original fairy-tale female characters and their interrelationships have been reworked in Walt Disney’s Frozen (Chris Buck and Jennifer Lee, 2013), and we will analyse how the film’s representations of love, desire, and femininity simultaneously resemble and differ from its literary source. Firstly, we will explore how Andersen’s alluringly dangerous Snow Queen has been turned into a sympathetic character, Queen Elsa. Secondly, we argue that Gerda and Kay’s friendship has been transformed into sisterly love between the two female protagonists in the film, Elsa and Anna, whereas romantic heterosexual love, on the other hand, seems to have been relegated to a secondary narrative arc or done away with altogether, as the absence of a romantic partner for Elsa shows. Interestingly, having a Disney queen whose quest does not involve finding a husband has led some Frozen fans to speculate that Elsa could be the first lesbian Disney princess. Thus, we will also analyse Elsa’s character in connection with the different definitions of ‘queerness’. In light of all this, we discuss that Frozen is an example of the recent Disney trend to redefine true love and prioritize female bonding and empowerment. However, if we compare it to its literary precedent, the Disney adaptation seems to be less daring when it comes to portraying non-normative manifestations of love and femininity than Andersen’s original.
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Allen, David. "Dalí, Disney and Destino: Alchemy in Animation." Text Matters, no. 10 (November 24, 2020): 49–66. http://dx.doi.org/10.18778/2083-2931.10.03.
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Salvador Dalí claimed that he made his whole life “a work of alchemy.” He saw in alchemy the principle of metamorphosis and “the transmutation of bodies.” Carl Jung recognized “imaginatio” as the key to alchemy. As Patrick Harpur suggests: “The Work takes place in a realm intermediate between mind and matter. It is a daimonic process, a ‘chemical theatre’ in which processes and psychic transformations interpenetrate.” The alchemist does not simply work on matter, but on the self.
In Dalí’s “paranoiac-critical method,” objects similarly seem to exist in an “intermediate realm between mind and matter”; they are animated presences, with a life of their own. The Dalínean double-image is itself a kind of alchemical magic, invoking the “transmutation of bodies.”
In 1946, Dalí began work for the Walt Disney Company on a short film, Destino. This would be, he claimed, the “First Surrealist Cartoon.” The appeal of animation for him may have been based in part in what Eisenstein termed “plasmaticness”: the “ability to dynamically assume any form.” Animation, then, may be seen as a kind of “chemical theatre.” As a “realm between mind and matter,” it also functioned for Dalí as a form of mundus imaginalis, in which he could engage with the “obsessing” images in his psyche.
In Destino, Dalí invoked the alchemical process as a journey to tranfiguration and psychological “rebirth.” The film was not completed in his lifetime; this account is based on the original storyboards which he produced.
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Muqoddas, Ali, and Noor Hasyim. "Representasi Anti Diskriminasi pada Film Kartun 3D Zootopia (Kajian Semiotika Roland Barthes)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 2, no. 02 (August 31, 2016): 151–66. http://dx.doi.org/10.33633/andharupa.v2i02.1217.
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Isu diskriminasi SARA seperti tiada habisnya terjadi di dunia ini, begitu juga di Indonesia. Hal ini mengakibatkan tema-tema tentang SARA menjadi sensitif ketika dibahas atau pun difilmkan. Hal ini mengakibatkan jarang ditemui film yang mengangkat tentang SARA. Lain halnya dengan Walt Disney. Walt Disney baru-baru ini merilis film kartun 3D yang mengangkat tema anti diskriminasi SARA yang berjudul Zootopia. Film ini menjadi menarik karena isu diskriminasi SARA yang diangkat dibalut dengan konsep yang kreatif hingga sensivitas isu SARA tersebut menjadi berkurang. Representasi anti diskriminasi SARA pada film Zootopia ini selanjutnya dikaji dengan metode semiotika Roland Barthes dengan pendekatan deskriptif kualitatif. Berdasarkan dari analisis, dapat disimpulkan bahwa film Zootopia memuat pesan ideologi tentang anti diskriminasi SARA bahwa kedudukan manusia dimata manusia yang lain pada hakikatnya adalah sama. Setiap manusia berhak dan wajib memperlakukan dan diperlakukan secara bijak tanpa memperdulikan background asal manusia itu sendiri. Penghargaan pada setiap individu tidak didasarkan pada faktor keturunan, ras, suku ataupun agama, namun didasarkan pada prestasi dari individu itu sendiri. Kata Kunci: diskriminasi SARA, Zootopia, Roland Barthes AbstractThe issue of racial discrimination as an endless happen in this world, so also in Indonesia. This resulted in the themes of SARA be sensitive when discussed or filmed. This resulted in a rare film that raised about SARA. Another case with Walt Disney. Walt Disney recently released 3D animated film that mengangat theme of anti-discrimination SARA entitled Zootopia. This film is interesting because racial discrimination issues raised wrapped with a creative concept to the sensitivity of the racial issues be reduced. SARA anti-discrimination representation on film Zootopia is further studied with Roland Barthes semiotic methods with qualitative descriptive approach. Based on the analysis, it can be concluded that the film contains Zootopia ideology of anti-discrimination message SARA that the position of human eyes of another human being is essentially the same. Every human being is entitled and obliged to treat and be treated wisely, regardless of the origin of man's own background. On each individual award is not based on heredity, race, ethnicity or religion, but is based on the achievements of the individuals themselves.Keywords: racial discrimination, Zootopia, Roland Barthes
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Morales, Orquidea. "Horror and Death: Rethinking Coco's Border Politics." Film Quarterly 73, no. 4 (2020): 41–49. http://dx.doi.org/10.1525/fq.2020.73.4.41.
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In 2013, the Walt Disney Company submitted an application to trademark “Día de los muertos” (Day of the Dead) as they prepared to launch a holiday themed movie. Almost immediately after this became public Disney faced such strong criticism and backlash they withdrew their petition. By October of 2017 Disney/Pixar released the animated film Coco. Audiences in Mexico and the U.S. praised it's accurate and authentic representation of the celebration of Day of the Dead. In this essay, I argue that despite its generic framing, Coco mobilizes many elements of horror in its account of Miguel's trespassing into the forbidden space of the dead and his transformation into a liminal figure, both dead and alive. Specifically, with its horror so deftly deployed through tropes and images of borders, whether between life and death or the United States and Mexico, Coco falls within a new genre, the border horror film.
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ISLAM, MD MOHIUL, and Nilufa Akter. "Disney’s Aladdin (2019), the Old Rum in the New Bottle." Ultimacomm: Jurnal Ilmu Komunikasi 12, no. 1 (June 17, 2020): 72–87. http://dx.doi.org/10.31937/ultimacomm.v12i1.1466.
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Disney Corporation has recently released Aladdin (2019) as their official remake of their own animated Film Aladdin (1992). By making some significant changes in the storyline, Guy Ritchie, the director of the film, tried to create some newness through the actions of the film. But the gender role of the princess Jasmine and the casting of Genie have brought back the same old tendency of the corporation that is the stereotypical representation of the females and racial ethnicity. The princess becomes the victim, and the male rescues the female, and the black becomes the slave. This very study shows how Disney has been doing the stereotyped portrayal of the women and showing the racist attitude towards the dark-skinned people. Since this study is conducted through a textual analysis approach, initially, the dialogues and actions related to the objective of the study have been coded. Then by analyzing the two characters and their dialogues, contexts and related actions, this study explains how Guy Ritchie’s Aladdin (2019) contains the old philosophy of Disney, that is keeping the women inside the house and neglecting the dark-skinned people, which at the end made the film nothing but the old rum in the new bottle.
Keywords: Females, Genie, patriarchy, portrayal, slavery.
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Liu, Chang. "The Cultural Communication Significance ofthe Mulan Films Made by Disney." Learning & Education 9, no. 3 (December 29, 2020): 68. http://dx.doi.org/10.18282/l-e.v9i3.1578.
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In September 2020, the live-action film “Mulan” shot by Disney in the United States was released in mainland China. This is the fourth time that Disney has put Mulan, a traditional Chinese character, on the screen. The first time was the animated version in 1998. After the success, the “Mulan II” was released in 2004, the third time was the 2012 animation version for children. This time, Disney put this historical story that is well-known in China on the screen in the form of a live-action version. The Chinese elements presented in these four versions are undoubtedly obvious. Although many people in China think that the Mulan created by Disney is not the Mulan in their minds, and the interpretation of traditional Chinese culture in the play is not necessarily accurate. However, by observing Chinese traditional culture from Westerners’ vision and interpreting Chinese traditional culture with Westerners’ concepts, Disney’s efforts objectively played a role in spreading Chinese traditional culture on a larger scale. It shows the traditional Chinese values of “loyalty, righteousness, courage and filial piety” and the two unique Chinese cultural symbols of dragon and phoenix to audiences all over the world, at the same time, the concept of caring for women and publicity of individuality is integrated into it, which makes this traditional character have a strong contemporary character and is more easily accepted by modern audiences. Its significance in cultural communication is worthy of recognition.
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Calderaro, Monica, and Marta Senesi. "Disney: crime in fairy tales*." Rivista di Psicopatologia Forense, Medicina Legale, Criminologia 22, no. 1-2-3 (December 27, 2017): 27–30. http://dx.doi.org/10.4081/psyco.2017.10.
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The screen is colored by a celestial sky and begins to outline a castle under whose white gold stands the "Walt Disney Pictures", a semi-crown crown all and the doors of the fantasy are ready to open to the spectators. This is the classic presentation of a Disney Movie that at least once in a lifetime will happen to each of us to attend and accompany the childhood of millions of children. But what is waiting behind that castle? Charming spells and sparks of magic? Absolutely. Princesses to save and charming princes to dream? Absolutely yes. Speaking animals and an Never Land? All this and much more. But if we looked at that castle from a different perspective, and if we shifted our attention from the precious robe of the protagonist, to what deeply motivates her choices and the dynamics surrounding her, we could notice dark shadows, concealed by glittering jewels and unnatural sunsets, so brilliant to blind. The work will focus on those heaviest nuances, analyzing and deepening scenes and themes of Disney Movies where it will be possible to find criminological and psychopathological aspects, thus trying to connect two worlds so distant that for a moment they will intersect as well as in a palette of a painter you can mix white and black. ---------- Lo schermo si colora di un celeste cielo, e comincia a delinearsi un castello sotto la cui bianca aurea si staglia la sigla “Walt Disney Pictures”, un semiarco corona il tutto e le porte della fantasia sono pronte a schiudersi per gli spettatori. Questa è la classica presentazione di un Film Disney a cui almeno una volta nella vita sarà capitato a ciascuno di noi di assistere, e che accompagna l’infanzia di milioni di bambini. Ma cosa ci aspetta dietro quel castello? Affascinanti incantesimi e scintille di magia? Senz’altro. Principesse da salvare e principi azzurri da sognare? Assolutamente sì. Animali parlanti e un’isola che non c’è? Tutto questo e molto di più. Se guardassimo, però, quel castello da una prospettiva diversa, e se spostassimo l’attenzione dal vestito prezioso della protagonista, a ciò che motiva in profondità le sue scelte e alle dinamiche che la circondano, potremmo notare delle sfumature oscure, celate da sfavillanti gioielli ed innaturali tramonti, tanto brillanti da accecarci. È proprio su quelle sfumature più tetre che si concentrerà il lavoro, analizzando e approfondendo scene e temi dei Film Disney in cui sarà possibile riscontrare aspetti criminologici e psicopatologici, cercando così di connettere due mondi tanto distanti che per un attimo si intersecheranno, cosi come in una tavolozza di un pittore è possibile mescolare il bianco e il nero. ---------- La pantalla es de color azul claro del cielo, y comienza a tomar forma un castillo bajo cuyo blanco de oro se coloca la abreviatura "de Walt Disney Pictures", un semi-arco rodea el todo y las puertas de la imaginación están listos para salir del cascarón para los espectadores. Esta es la presentación clásica de una Película de Disney que al menos una vez en la vida nos ha sucedido a cada uno de nosotros para asistir, y que acompaña a millones de niños. Pero, ¿qué está esperando detrás de ese castillo? Encantadores hechizos y chispas de magia? Absolutamente. ¿Princesas para salvar y príncipes azules para soñar? Absolutamente sí ¿Animales que hablan y una isla que no está allí? Todo esto y mucho más. Si observamos, sin embargo, que el castillo desde una perspectiva diferente, y si a mitad de camino a través de la atención por parte del precioso vestido el personaje principal, lo que motiva profundamente en sus elecciones y la dinámica que lo rodean, se puede notar las sombras oscuras, ocultas por las joyas espumoso y puestas de sol antinaturales, tan brillantes para cegar. Es precisamente en los tonos más sombríos que se centrarán los trabajos, analizando y profundizando escenas y películas temas de Disney, donde se pueden encontrar aspectos criminológicos y psicopatológicas, tratando así de conectar dos mundos tan lejos que un momento se cruzará, así como en una paleta de un pintor puede mezclar blanco y negro.
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Abdullah Rashed, Atoof, and Laila M. Al-Sharqi. "Roses in Amber: Gendered Discourse in Disney’s 2017 Adaptation of Villeneuve’s Fairytale Beauty and the Beast." Arab World English Journal For Translation and Literary Studies 5, no. 1 (February 15, 2021): 126–43. http://dx.doi.org/10.24093/awejtls/vol5no1.9.
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This study considers the dialogic relationship between the 2017 Disney live-action film Beauty and the Beast with Gabrielle-Suzanne de Villeneuve’s fairy tale and Disney’s 1991 animated version. Drawing on cultural and feminist discourse, the study seeks to examine Disney’s live-action film for incidents of cultural appropriation of gender representation compared to Villeneuve’s fairy tale and Disney’s 1991 animated version. The Study argues that the 2017 film adaptation reverses the traditional patriarchal notions and embraces a transgressive feminist discourse/approach as part of Disney’s strategy of diversity and inclusion of gender, race, class, and sexual orientation as constantly evolving cultural categories. This study finds significant alterations made to the physical and psychological attributes of the 2017 film’s three characters: Beauty/Belle, the Beast, and the Enchantress, changes that align with the film’s gendered discourse. By reversing the characteristic privileging of the male and the empowerment of the female, the live-action succeeds in addressing the contemporary audience demands of diversity and inclusion. The study concludes that the changes made in the 2017 film adaptation displace the oppressive patriarchal notions and stereotypical modes of representing the male and female as they have been perceived in the original fairy tale, for they are no longer compatible with contemporary cultures’ assumptions on gender.
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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basis.v5i2.776.
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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.
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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basisupb.v5i2.776.
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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.
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Anjirbag, Michelle. "Mulan and Moana: Embedded Coloniality and the Search for Authenticity in Disney Animated Film." Social Sciences 7, no. 11 (November 11, 2018): 230. http://dx.doi.org/10.3390/socsci7110230.
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As the consciousness of coloniality, diversity, and the necessity of not only token depictions of otherness but accurate representations of diversity in literature and film has grown, there has been a shift in the processes of adaptation and appropriation used by major film production companies and how they approach representing the other. One clear example of this is the comparison of the depiction of diverse, cross-cultural womanhood between Walt Disney Animation Studio’s Mulan (1998) and Moana (2016). This paper will use a cross-period approach to explore the ways in which a global media conglomerate has and has not shifted its approach to appropriation of the multicultural as other and the implications for representational diversity in the context of globalization and a projected global culture. In one case, a cultural historical tale was decontextualized and reframed, while in the other, cultural actors had a degree of input in the film representation. By examining culturally specific criticisms and scenes from each film, I will explore how the legacy of coloniality can still be seen embedded in the framing of each film, despite the studio’s stated intentions towards diversity and multiculturalism.
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Salsabila, Nada, and Diah Ayu Candraningrum. "Representasi Kearifan Lokal Budaya Timur Tengah dalam Film “Aladdin (2019)” Produksi Walt Disney Pictures." Koneksi 4, no. 1 (March 22, 2020): 7. http://dx.doi.org/10.24912/kn.v4i1.6494.
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This research examines the representation of Middle Eastern culture local wisdom contained in the film "Aladdin 2019" produced by Walt Disney Pictures. This study aims to examine the cultural symbols of the Middle East. The research method used in this study is a qualitative method with Charles Sanders Peirce's semiotic analysis which divides the sign into three elements namely sign, object and interpretant. Semiotics is the science that discusses or examines the meaning of a sign. The results showed that Middle Eastern cultural symbols in the film "Aladdin 2019" were displayed through 10 scenes selected in the film. Cultural symbols of the Middle East are shown through the habits of the people kissing the right and left cheeks every time they meet relatives, riding camels to travel, livelihoods of people who trade, princess clothes Jasmine and Sultan, building architecture made of bricks and domes as decoration and art that displays traditional Middle Eastern musical instrument namely Gambus. Some interesting facts in the film one of which is the making of the city "Agrabah" as a shooting setting which is a fictitious city in England and property made of authentic jewelry. Penelitian ini mengkaji mengenai representasi kearifan lokal budaya Timur Tengah yang terdapat dalam Film “Aladdin 2019” Produksi Walt Disney Pictures. Penelitian ini bertujuan untuk mengkaji simbol-simbol budaya Timur Tengah. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif dengan analisis semiotika Charles Sanders Peirce yang membagi tanda menjadi tiga elemen yaitu tanda, objek dan interpretan. Semiotika adalah ilmu yang membahas atau mengkaji mengenai pemaknaan dari sebuah tanda. Hasil penelitian menunjukkan bahwa simbol-simbol budaya Timur Tengah dalam Film “Aladdin 2019” ditampilkan melalui 10 scene yang dipilih dalam film tersebut. Simbol-simbol Budaya Timur Tengah ditunjukkan melalui kebiasaan masyarakat cium pipi kanan dan kiri setiap bertemu kerabat, menunggangi unta untuk bepergian, mata pencaharian masyarakat yang berdagang, pakaian putri Jasmine dan Sultan, arsitektur bangunan berasal dari batu bata dan kubah sebagai hiasan serta kesenian yang menampilkan alat musik tradisional Timur Tengah yaitu Gambus. Beberapa fakta menarik dalam film tersebut salah satunya adalah pembuatan kota “Agrabah” sebagai latar syuting yang merupakan kota fiktif di Inggris dan properti yang terbuat dari perhiasan asli.
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Jankovic, Slavko, Dragoslav Sokic, Nikola Vojvodic, and Aleksandar Ristic. "The first film presentation of REM sleep behavior disorder precedes its scientific debut by 35 years." Srpski arhiv za celokupno lekarstvo 134, no. 9-10 (2006): 466–69. http://dx.doi.org/10.2298/sarh0610466j.
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The perplexing and tantalizing disease of rapid eye movement (REM) sleep behavior disorder (RBD) is characterized by peculiar, potentially dangerous behavior during REM sleep. It was described both in animals and humans. RBD in mammals was first described by Jouvet and Delorme in 1965, based on an experimental model induced by lesion in pontine region of cats [1]. In 1972, Passouant et al. described sleep with eye movements and persistent tonic muscle activity induced by tricyclic antidepressant medication [2], and Tachibana et al., in 1975, the preservation of muscle tone during REM sleep in the acute psychosis induced by alcohol and meprobamate abuse [3]. However, the first formal description of RBD in humans as new parasomnia was made by Schenck et al in 1986 [4-7]. Subsequently, in 1990, the International Classification of Sleep Disorders definitely recognized RBD as new parasomnia [8]. To our knowledge, arts and literature do not mention RBD. Except for the quotation, made by Schenck et al [6] in 2002, of Don Quixote de la Mancha whose behavior in sleep strongly suggested that Miguel de Servantes actually described RBD, no other artistic work has portrayed this disorder. Only recently we become aware of the cinematic presentation of RBD which by decades precedes the first scientific description. The first presentation of RBD on film was made prior to the era of advanced electroencephalography and polysomnography, and even before the discovery of REM sleep by Aserinsky and Kleitman in 1953. [9]. The artistic and intuitive presentation of RBD was produced in Technicolor in a famous film "Cinderella" created by Walt Disney in 1950, some 35 years prior to its original publication in the journal "Sleep" [2]. Since there is an earlier version of the film initially produced in 1920, presumably containing this similar scene, we can only speculate that the first cinematic presentation of RBD might precede its scientific debut by 65 years. In a scene in a barn, clumsy and goofy dog Bruno is, as dogs usually do, lying on a mat deeply asleep and obviously dreaming of his enemy cat Lucifer. This is clearly implied by a preceding scene showing Lucifer being extremely frightened while observing the dreaming dog in action. The cat Lucifer is instantly aware that the dog is chasing him in a dream and is horrified (Pictures 1-3). In a film sequence lasting only 16 seconds, we see Cinderella being aware that Bruno is firmly asleep, apparently having a terrible dream. While lying on the ground with total absence of any muscle atonia, the dog Bruno chases the cat Lucifer in his dream. He is running and barking, and when in his dream he catches Lucifer, he tries to devour the cat. Cinderella tries to wake him up by calling his name twice, first gently and then more vigorously, as she becomes aware of the content of Lucifer?s dream and his intention. The dog is deeply asleep and does not awake in spite of being exposed to sunlight through the opening door of the barn, and called by name by Cinderella (Pictures 4-14). For such a behavior he is reprimanded by Cinderella who definitely recognized the content of his dream (Pictures 15-36). Immediately upon awakening, Bruno shows his good natured temper and amiable character (Pictures 37-40). The film shows that the producer (Walt Disney) and film directors (Wilfred Jackson, Clyde Geronimi and Hamilton Luske) were obviously aware that a dog might enact the content of a dream. It also implies that their observation from day-to-day (better to say night-to-night) life of the dream enactment is not a rare phenomenon, and that it deserves to be shown in the film. These authors were also aware that dogs having RBD were good-natured during wakefulness and that only in dreams they showed unrestrained aggression; while awake, dog Bruno was only an opponent or enemy to the cat Lucifer, but in dreams the animosity grew to aggression. Disney noticed this peculiar kind of sleep behavior and most probably was aware of its frequency and importance, and certainly not knowing it is a disease, he used it to color his cartoon character making it more likable to the observer. Since the film was nominated for Best Score, Best Song and Best Sound, it not only reflected the artistic and observational abilities of the producer, but also his sense of the importance of the phenomenon, awareness of its frequency and presence in animals. The onlooker is tempted to speculate that Disney, while obviously having been aware of such a behavior in animals, might also have knowledge of its presence in humans. Even more, since Disney?s films frequently present different sleep disturbances (e.g., obstructive sleep apnea (OSA) in dwarfs, hypersomnolence in the dwarf Sleepy, or jactatio capitis nocturna in the dwarf Dopey in film "The Snow White"), it seems plausible that he first observed RBD in man, and then artistically transferred it to his cartoon animal characters. Since the whole incident took place during the day, we assume that Bruno, apart from suffering from RBD, had another sleep disorder causing daytime REM intrusions (possibly narcolepsy and probably not OSA, as is frequent in Disney?s films, since there is no excessive daytime sleepiness). The odd thing about RBD is that it may easily, as it probably did for centuries, go as peculiar behavior in sleep ? rather than disease. While Lucifer was presented as sober and prudent cat, Bruno was clumsy and forgetful dog. We will refrain from speculating that dog?s clumsy nature could be the consequence of the CNS involvement by neuro-degenerative disease (i.e., synucleinopathy). Although we are aware that, in interpreting this episode we assumed to be at least as imaginative as the cartoon films of Walt Disney are, the fact remains that the artistic film presentation of RBD precedes its scientific description by at least 35 years.
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Vizcaíno-Verdú, Arantxa, Ignacio Aguaded, and Paloma Contreras-Pulido. "Understanding Transmedia Music on YouTube through Disney Storytelling." Sustainability 13, no. 7 (March 25, 2021): 3667. http://dx.doi.org/10.3390/su13073667.
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Transmedia storytelling has been integrated into contemporary society through social media, where influencers have enabled the building of worlds. Within this environment of human-interaction, fiction and converging social realities have become an essential tool to tell stories. On YouTube, storytelling has expanded to music, where cover videos take on great relevance. The aim of this study is to understand the transmedia music phenomenon due to the impact of music on the platform. To this end, we applied a methodology that stemmed from Grounded Theory principles in the analysis of 300 Disney animation song covers in three stages: (1) deductive and inductive codebook development; (2) social network analysis; and (3) statistical test. The results showed that youtubers highlight specific audiovisual codes from the film and cultural industries. Furthermore, we observed these productions often display configurations that expand the original story through performance, location, costumes, make-up, among others. We argue that, on the digital sphere, a sustainable transmedia music paradigm is developing, where performers construct more meaningful and valuable stories.
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Hernández-Pérez, Manuel. "Animation, Branding and Authorship in the Construction of the ‘Anti-Disney’ Ethos: Hayao Miyazaki’s Works and Persona through Disney Film Criticism." Animation 11, no. 3 (October 24, 2016): 297–313. http://dx.doi.org/10.1177/1746847716660684.
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Fonneland, Trude. "Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency." Religions 11, no. 9 (August 21, 2020): 430. http://dx.doi.org/10.3390/rel11090430.
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This paper explores the religion-making potential of a particular secular institution, namely the Walt Disney Studios. Focusing on the animation film Frozen II that was launched in November 2019, the current article enters into debates about the manner in which indigenous religion is part of the commodity presented—how religion is produced, packaged, and staged. In the article I argue that contemporary media-scapes can be seen as agents of religion-making, of religious circulation, and renewal. As such, religion, as it is expressed in Frozen II, is outlined and produced by a particular media-form and shaped as a popular cultural formation. Further discussions about cultural appropriation are highlighted, focusing on how Disney’s reach out for cooperation with the Sámi community can generate new cultural policies and practices.
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Qingli, Xu, and Shi Ying. "Female Gender Identity in the Adaptation of Disney Live-action Film Mulan." English Language, Literature & Culture 5, no. 3 (2020): 112. http://dx.doi.org/10.11648/j.ellc.20200503.16.
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Luthfiyati, Dian, Abdul Kholiq, and Nur Dian Tamimih. "An Analysis of Social Interaction of Autism in Life, Animated Film." Linguistic, English Education and Art (LEEA) Journal 3, no. 1 (December 23, 2019): 108–19. http://dx.doi.org/10.31539/leea.v3i1.920.
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The aims of this study were to find social interaction of autism in Life, Animated film. The autistic child in this film is the second son of Suskind Family. This study the writer uses descriptive analysis techniques. The data of this study are the conversation of Life, Animated film. Data analysis techniques used in this study is transcription, classification and analysis. Data source was Life, Animated Film. This study only focused on social interaction. The result of the research shows that Owen was confused and did not understand what people said, he was often smiling by himself, he also often gritting his teeth, he imitated word or sentence that had said by other people, not only sentence but he also imitates several scenes in Disney movie, closed with his mother, he prefers to have relation with older or adult than in age-mates, he shows his disappointment if he left by his friend and he expressed his feeling and what he wanted using different Disney movies. This study shows that autistic children want to be around people, but they are sometimes do not know how to connect with others. The conclusion from this study is supported by family, therapist and people around autism people, becomes important thing to realize their potential of autism.
Keywords: social interaction, uutism, life, animated film
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Sulistyani, Hapsari Dwiningtyas. "Pemaknaan Lokal terhadap Teks Global Melalui Analisis Tema Fantasi." Jurnal ILMU KOMUNIKASI 13, no. 2 (January 20, 2017): 201. http://dx.doi.org/10.24002/jik.v13i2.721.
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Abstract: This study focuses on exploring the use of Fantasy Theme Analysis for examining local interpretation on global media texts, particularly the way in which Indonesian girls interpret Disney princesses. The main theory used in this research is Symbolic Convergence Theory in which the theory is used as a tool to analyze the chain of meanings. This research uses fantasy themes analysis as the method of analysis. The results indicate that the girls perceive the beauty images constructed by Disney as ideal. Consequently, they have negative perception to the dominant physical characteristics of Indonesian women.Keywords: beauty codes, fantasy themes analysis, feminine codes, local meaningsAbstrak: Penelitian ini fokus pada eksplorasi penggunaan analisis tema fantasi untuk melihat pemaknaan lokal terhadap produk global melalui interpretasi anak perempuan di Indonesia terhadap film putri Disney. Teori utama yang digunakan dalam penelitian ini adalah Teori Konvergensi Simbollik dengan analisis tema fantasi sebagai metode. Hasil penelitian menunjukkan bahwa anak-anak perempuan menempatkan konstruksi kecantikan oleh Disney sebagai kecantikan yang ideal, sehingga mereka cenderung memiliki persepsi negatif terhadap karakteristik fisik dominan yang dimiliki oleh sebagian besar perempuan Indonesia.Kata Kunci: analisis tema fantasi, kode feminin, pemaknaan kecantikan, pemaknaan lokal
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Haswell, Helen. "To infinity and back again." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 24–40. http://dx.doi.org/10.33178/alpha.8.02.
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In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. La Luna (Enrico Casarosa) marks a pivotal shift in Pixar's short film canon by displaying hand-drawn artwork and man-made textures. Widely considered the innovators of computer-generated animation, Pixar is now experimenting with 2D animation techniques and with textures that oppose the clean and polished look of mainstream American animation. This article aims to outline the significant technological developments that have facilitated an organic aesthetic by suggesting that nostalgia dictates a preference for a more traditional look. It will also argue that this process pioneered by Pixar has in turn influenced the most recent short films of Walt Disney Animation Studios.
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Isojärvi, Aino AT. "Absent Patriarchs and Persuasive Enforcers of the Future Nation: A Contextualized Reading of American Wartime Fathers in Walt Disney’s Pinocchio, Dumbo and Bambi." Animation 14, no. 1 (March 2019): 37–51. http://dx.doi.org/10.1177/1746847719833308.
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This article discusses the portrayal of fatherhood and paternity in Walt Disney’s benchmark features Pinocchio (1940), Dumbo (1941) and Bambi (1942) through a contextualized historical and cultural analysis. The author aims to provide a coherent study of how the father figure is constructed in each of these films and why the tone of this presentation varies considerably within the short time span between the theatrical releases. The article proceeds to demonstrate how, with their prominent father characters, these features exhibit metaphorically the transitional and challenged sentiments regarding fatherhood and masculinity in early 1940s America. The immense societal crises, the Great Depression and the Second World War, destabilized prevalent gender roles and, as a response, sparked ideologically charged discourses that were pretentiously spread in contemporary mainstream film, and which sought to restore the former patriarchal order. This article intends to discover to what extent the Disney studio participated in these popular discourses or used them for its own interests. Finally, the article investigates how these films contribute to the construction and understanding of ‘reality’ of this past and the role of fathers within it.
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Rismaya, Dhena, Husnul Hadi, and Mudzanatun . "NILAI MORAL FILM ANIMASI BIG HERO 6 PRODUKSI WALT DISNEY TERHADAP SIKAP KEPEDULIAN SISWA SEKOLAH DASAR." Indonesian Journal Of Educational Research and Review 2, no. 2 (July 16, 2019): 192. http://dx.doi.org/10.23887/ijerr.v2i2.17627.
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Karakter seorang anak dibentuk tidak lepas dengan adanya nilai-nilai moral. Apabila proses pertumbuhan dan perkembangan anak tidak disertai atau tidak diimbangi dengan penanaman nilai moral tentunya akan berpengaruh terhadap karakternya misalnya sikap kepeduliannya. Dalam membentuk moral anak dapat dilakukan sejak usia dini yaitu dengan memberi tayangan yang mendidik pada anak. Permasalahan penelitian ini yaitu bagaimanakah nilai moral film animasi Big Hero 6 terhadap sikap kepedulian siswa sekolah dasar. Tujuan penelitian ini adalah menganalisis dan mendeskripsikan nilai moral film animasi Big Hero 6 terhadap sikap kepedulian siswa sekolah dasar . Jenis penelitian ini adalah deskriptif kualitatif. Populasi dalam penelitian ini adalah Populasi dalam penelitian ini adalah seluruh siswa SD Negeri Kebonsawahan 02 tahun 2018/2019. Sampel yang diambil adalah 34 siswa kelas III. Data yang diambil dalam penelitian ini adalah pengaruh postif nilai moral film animasi Big Hero 6 untuk siswa kelas III. Metode pengumpulan data yang digunakan adalah wawancara, observasi, angket dan dokumentasi. Berdasarkan analisis data hasil penelitian setelah dideskripsikan, terdapat banyak sikap kepedulian yang tertanam dalam film animasi Big Hero 6. Nilai moral yang terdapat dalam film animasi Big Hero 6 dapat digunakan sebagai contoh teladan dan penanaman sikap kepedulian pada siswa hal ini terbukti dari hasil wawancara, observasi dan hasil analisis angket yang digunakan. Sikap kepedulian tergambar dalam percakapan serta tindakan yang dilakukan oleh para tokoh cerita didalamnya. Nilai-nilai moral yang terkandung dalam fil animasi Big Hero 6 yaitu tolong menolong, kerja sama, rasa hormat, kebijaksanaan, pemberani, rendah hati, dan pantang menyerah. Kata Kunci : Nilai Moral, Peduli, Film Animasi Big Hero 6.
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Rahayu, Mundi, Irwan Abdullah, and Wening Udasmoro. "PERGESERAN NILAI-NILAI ISLAM DALAM CERITA ALADDIN: PERBANDINGAN “ARABIAN NIGHTS” DAN FILM ANIMASI DISNEY." El-HARAKAH (TERAKREDITASI) 17, no. 1 (September 14, 2015): 52. http://dx.doi.org/10.18860/el.v17i1.3085.
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<p class="Abstrak"><em>This study compares the folktale “The Story of Aladdin and the Wonderful Lamp” from the Arabian Nights, and the animated film produced by Walt Disney Feature Animation under the title “Aladdin” (1992). </em><em>The story of Disney’s animated film “</em><em>Aladdin</em><em>” is based on the </em><em>“The Story of Aladdin and the Wonderful Lamp.” </em><em> The comparison of the two is focused on the aspect of Islamic values, its shifts and changes in the animated film </em><em>Aladdin. The study applies Fairclough’s Critical Discourse Analysis, by applying the three stages of analysis. The first level is micro level, on the language practice. In </em><em>the </em><em>second level, mezo level, </em><em>discusses the </em><em>discourse practice </em><em>that </em><em>covers the intertextuality</em><em> that explore the production and consumption of text </em><em>as the reference in delivering the ideas. In </em><em>the </em><em>third level, macro level, it interprets the social </em><em>context of </em><em> particular </em><em>events.</em><em> </em><em>The finding shows that there is a change of discourse of Islamic value which is strongly expressed in the origiinal Aladdin story of </em><em>“Arabian Nights</em><em>” especiallly the important role of family. On the other hand, in the animated film Aladdin, remove the discourse of Islamic value and change it into the discourse of freedom. </em></p>
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Nasr, Samah Hassan Abdou. "Traduction des chansons dans le film Pocahontas de Disney entre adaptation et musicalité." مجلة کلیة الآداب جامعة الفیوم 13, no. 2 (July 1, 2021): 963–91. http://dx.doi.org/10.21608/jfafu.2021.164225.
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Kleiman, Yulia A. "Pinocchio of the Red Decade: On Stage and on Screen." Literature of the Americas, no. 10 (2021): 310–30. http://dx.doi.org/10.22455/2541-7894-2021-10-310-330.
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Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.