Academic literature on the topic 'Disney Pixar'
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Journal articles on the topic "Disney Pixar"
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Barthélemy, Jérôme. "The Disney–Pixar relationship dynamics." Organizational Dynamics 40, no. 1 (January 2011): 43–48. http://dx.doi.org/10.1016/j.orgdyn.2010.10.002.
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Graham, James A., Hope Yuhas, and Jessica L. Roman. "Death and Coping Mechanisms in Animated Disney Movies: A Content Analysis of Disney Films (1937–2003) and Disney/Pixar Films (2003–2016)." Social Sciences 7, no. 10 (October 16, 2018): 199. http://dx.doi.org/10.3390/socsci7100199.
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The purpose of this content analysis was to examine how death depictions in animated Disney films has changed in the past 14 years and the coping mechanisms used to process death within these films. A content analysis from 2005 was used to investigate the influence of Disney films on children’s concepts of death based on 23 death scenes from 10 full-length Disney Classic animated films from 1937 to 2003 and 10 death scenes from 8 selected full-length Disney and Pixar animated films from 2003 to 2016. Our goal was to compare the findings across the two studies. Similar to the original study, the portrayal of death focused on five categories: character status; depiction of death; death status; emotional reaction; and causality. We expanded on the original study and more research by examining coping mechanisms used to process death within a selection of these films. Our findings indicated that some scenes from animated Disney and Pixar films obscure the permanence and irreversibility of death and often fail to acknowledge deaths emotionally. Our conclusions showed that Disney’s and Pixar’s portrayal of death in newer films might have more positive implications for children’s understanding of death than Disney Classic animated films.
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de Leonardis, Maria Chiara. "La creativitŕ fra tecnologia e management: riflessioni sul caso Pixar." IKON, no. 53 (February 2009): 323–63. http://dx.doi.org/10.3280/ikr2006-053012.
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- A new digital language of extreme technological refinement, able to tell stories of great emotional impact, has been generated by computer animation. Pixar Animation Studios is a production company that in few years has given a considerable push to 3D animation: they use the new technologies giving always a great importance to story. Their huge success attracted more and more the attention of a world- wide colossus like the Disney, who proposed different deals for coproduction and distribution. After various events, on January 24th, 2006, the Mouse House acquired Pixar, with an operation of 7,4 billions dollars, and offered to Pixar leaders (Steve Jobs and John Lasseter) key roles in Disney company. This union can be defined a convenience wedding: in fact, Disney has incorporated a production company that during the last few years has obtained enormous hits at the box office; Pixar has guaranteed the association to one of the stronger brands and the biggest distribution forces in the world of entertainment. Pixar case history shows that the core element in the economy of the entertainment, what really makes the difference and brings to success, is the creative element: technology and management must be at its service.
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Brydon, Suzan G. "“I’ve Got to Succeed, So She Can Succeed, So We Can Succeed”: Empowered Mothering, Role Fluidity, and Competition in Incredible Parenting." Social Sciences 7, no. 11 (October 30, 2018): 215. http://dx.doi.org/10.3390/socsci7110215.
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The social influence of Disney discourse is difficult to ignore, as is their repetitive matricide and positioning of the patriarchal and heteronormative family model in their bloc.kbuster animated films. Yet, through its Pixar Animation Studios subsidiary, Disney has pushed progressively at the boundaries, not only in terms of animation artistry but also through the social topics explored. This study builds on previous research of male mothering in Finding Nemo by visiting the subsequent 11 Pixar animated films, with in-depth exploration of their most recent release, Incredibles 2. Ultimately, I argue that Pixar has once again opened space by embracing empowered and collaborative parenting.
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Bezerra, Camila Paschoal. "Criatividade S.A." Organicom 16, no. 31 (December 20, 2019): 209–13. http://dx.doi.org/10.11606/issn.2238-2593.organicom.2019.159895.
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Este livro inventivo ilustra a fascinante narrativa contemplando detalhes sobre como a Pixar nasceu. Escrito por Ed Catmull, co fundador da Pixar Animation Studios e presidente da Pixar Animation e da Disney Animation, este livro permite aos leitores navegarem uma bonita jornada rumo à criatividade, comunicação e gestão.Esta narrativa única contém múltiplos exemplos sobre como a inovação pode ser gerenciada através de diversas metodologias e métricas.Certamente é uma excelente leitura que irá deliciar os entusiastas do entretenimento assim como especialistas em comunicação.
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Al-Jbouri, Elizabeth, and Shauna Pomerantz. "A New Kind of Monster, Cowboy, and Crusader?" Boyhood Studies 13, no. 1 (June 1, 2020): 43–63. http://dx.doi.org/10.3167/bhs.2020.130104.
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Representations of boys and men in Disney films often escape notice due to presumed gender neutrality. Considering this omission, we explore masculinities in films from Disney’s lucrative subsidiary Pixar to determine how masculinities are represented and have and/or have not disrupted dominant gender norms as constructed for young boys’ viewership. Using Raewyn Connell’s theory of gender hegemony and related critiques, we suggest that while Pixar films strive to provide their male characters with a feminist spin, they also continue to reify hegemonic masculinities through sharp contrasts to femininities and by privileging heterosexuality. Using a feminist textual analysis that includes the Toy Story franchise, Monsters, Inc., Finding Nemo, The Incredibles, and Coco, we suggest that Pixar films, while offering audiences a “new man,” continue to reinforce hegemonic masculinities in subtle ways that require critical examination to move from presumed gender neutrality to an understanding of continued, though shifting, gender hegemony.
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Tenzek, Kelly E., and Bonnie M. Nickels. "End-of-Life in Disney and Pixar Films: An opportunity for Engaging in Difficult Conversation." OMEGA - Journal of Death and Dying 80, no. 1 (August 17, 2017): 49–68. http://dx.doi.org/10.1177/0030222817726258.
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This study expanded upon previous scholarship by examining end-of-life (EOL) depictions and messages of death within Disney and Pixar animated films. We argue Disney and Pixar depictions of EOL and death can provide critical opportunities for discussing death and dying processes with children and adults alike. A content analysis of 57 movies resulted in a total of 71 character deaths. These instances of death became the discourse used for analysis. The EOL discourse was coded based on five categories (character status, depiction of death, death status, emotional reaction, and causality). After quantitative analysis, the films were qualitatively analyzed. Four themes emerged from analysis, unrealistic moments, managing EOL, intentions to kill, and transformation and spiritual connection. Discussion of results, limitations, and directions for future research are included.
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Gillam, Ken, and Shannon R. Wooden. "Post-Princess Models of Gender: The New Man in Disney/Pixar." Journal of Popular Film and Television 36, no. 1 (April 2008): 2–8. http://dx.doi.org/10.3200/jpft.36.1.2-8.
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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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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.
Dissertations / Theses on the topic "Disney Pixar"
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Wigardt, Sandra, and Johanna Kallin. "”Allt du behöver göra nu är att stå där och låta mig kolla på dig” : En genus- och ekokritisk analys av två tecknade filmer utan mänskliga huvudkaraktärer." Thesis, Uppsala universitet, Institutionen för pedagogik, didaktik och utbildningsstudier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-224823.
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Vi lever i ett samhälle som präglas av tydligt uttalade och outtalade föreställningar kring hur män och kvinnor ska vara och se ut. Dessa föreställningar lär vi oss redan som små barn, genom såväl föräldrar som vänner och även den media som ständigt omger oss. I tv och film presenteras ständigt stereotypiserade bilder av män och kvinnor, ofta i miljöer som ytterligare förstärker det stereotypa budskapet; till exempel starka män i mörka och farliga miljöer och vackra kvinnor i ljusa och varma miljöer. Eftersom media är en så stor del av elevernas vardag valde vi att genom en kvalitativ textanalys undersöka hur genus skapas i två filmer för barn där mänskliga karaktärer saknas, samt undersöka huruvida olika miljöer används för att förstärka intryck. Utifrån ett genus- och ekokritiskt perspektiv analyserade vi sedan filmerna Bilar (2006) och Wall-E (2008). Genom vår analys har vi kunnat dra slutsatsen att genus skapas tydligt även i kontexter där mänskliga karaktärer saknas, ofta med hjälp av olika miljöer som används för att förstärka olika stereotypa budskap. Hur genus görs skiljer sig dock tydligt åt mellan de två filmerna, som båda två uppvisar såväl normförstärkande som normbrytande kvaliteter. Bilar (2006) präglas dock främst av det förstnämnda, och förstärker traditionella könsroller och upprätthåller genussystemet med hjälp av olika miljöer genom hela filmen. Wall-E (2008) bryter desto mer mot traditionella normer genom att låta huvudkaraktärerna uppvisa både traditionellt manliga och kvinnliga egenskaper, vilket i teorin skulle kunnat resultera i könsneutralitet. Däremot utgör den heteronormativa kärleken kärnan i såväl Wall-E som Bilar vilket även präglar huvudkaraktärerna och hur de förhåller sig till varandra utifrån traditionella könsroller. Vår förhoppning är att lärare ska börja ta in elevernas mediekultur i klassrummet och tillsammans med dem våga diskutera och ifrågasätta vilka normer som presenteras och varför. Precis som Hirdman (1988) tror vi, att genom medvetandegörandet av genussystemet, eventuellt skulle kunna undvika att bidra till att själva reproducera systemet och på så sätt uppnå jämställdhet.
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Akers, Chelsie Lynn. "The Rise of Humor: Hollywood Increases Adult Centered Humor in Animated Children's Films." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3724.
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Children's animated films have held a lasting influence on their audiences since the rise of their popularity in the 1980s. As adults co-view such films with their children Hollywood has had to rewrite the formula for a successful animated children's film. This thesis argues that a main factor in audience expansion is adult humor. The results show that children's animated films from 2002-2013 are riddled with many instances of adult humor while earlier films from 1982-1993 use adult humor sparingly. It is clear that over the years the number of adult humor occurrences has consistently increased. Furthermore, this research shows that adult male roles consistently deliver the adult humor.
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Montoya, Rubio Alba. "Les pel·lícules musicals d’animació dels estudis Walt Disney: anàlisi de l’aparició i evolució dels elements recurrents a les cançons (1937-2010)." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/481959.
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Aquesta tesi estudia la música a les pel·lícules de Disney, concretament la configuració de les seves cançons, si hi ha uns patrons formals en la seva creació i disposició en un llargmetratge animat. A partir d’aquesta anàlisi, es pretén esbrinar si existeix el que sovint es denomina “la fórmula” Disney, segons la qual en aquestes pel·lícules sempre hi ha d’haver un determinat tipus de cançó amb uns trets molt definits. Per resoldre aquesta qüestió s’han analitzat un total de 34 pel·lícules, fent un especial èmfasi en els moments musicals i tots els elements que hi interactuen: la lletra, la imatge i la música. D'aquesta anàlisi i de la comparació d'aquestes pel·lícules ha estat possible deduir com han estat dissenyades, si existeixen uns patrons formals en la configuració dels números musicals i si tot això dona lloc a un estil únic i diferenciable a nivell artístic, a més de permetre revisar la definició del musical com a gènere cinematogràfic.La presente tesis estudia la música en las películas de Disney, concretamente la configuración de sus canciones, si hay unos patrones formales en su creación y disposición en un largometraje animado. A partir de este análisis, se pretende averiguar si existe lo que a menudo de llama “la fórmula” Disney, según la cual en dichas películas siempre debe haber un determinado tipo de canción con unas características muy definidas. Para resolver esta cuestión se han analizado un total de 34 películas, haciendo un especial énfasis en los momentos musicales y todos los elementos que interactúan: la letra, la imagen y la música. De este análisis y de la comparación de las películas ha sido posible deducir cómo han sido diseñadas, si existen unos patrones formales en la configuración de los números musicales y si esto da lugar a un estilo único y diferenciable a nivel artístico, además de permitir revisar la definición del musical como género cinematográfico.
Abstract: The aim of this thesis is to analyze Disney movies from a scientific perspective and appraise its contribution in the audiovisual language field. It is also the goal of this dissertation to propose a new analysis methodology that includes three disciplines: music, literature and visual arts. From the analysis and comparison of these films it will be possible to gather how they have been created, if there is a formula in the setting of musical numbers and if all this results in a artistic style unique and distinguishable. Lastly, all this may allow reformulating the definition of musical as a cinematographic genre.
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Seal, Sarah Emily. ""Recuérdame": Un Análisis De La Memoria, Las Fronteras, Y La Busqueda De La Identidad En "COCO"." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555692913161845.
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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.Betyg VG (skala IG-VG)
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Chien, Cheng Yu, and 鄭語謙. "From “Pixar” to “Disney-Pixar “: A Political Economic Analysis." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/40131941792018893822.
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碩士淡江大學
大眾傳播學系碩士班
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In 1995, Pixar Animation Studios produced the first 3D computer-animated featurefilm Toy Story and it made a resounding success in ticketing revenue. Since then, every 3D film they produced has been successful. Before 2006, Pixar films criticized theunfairness of society with ironic plots, which was different from the conventional andcommercial movies, such as Disney films. This became its remarkable style and won itsplace in the film market. Due to the tendency of 3D computer-animated filmsgettingfashionable, Disney films have gradually lost their popularity. In 2006, Pixar entered anagreement to merge into the Walt Disney Company in a $7.4 billion stock swap. In sodoing, Disney tries to make profits from Pixar’s production. This study found that it is hardly to see the critical elements andthe materialification narrative style in the films made by Disney-Pixar. Instead, Disney classic narrative model is easily identified in them. This change shows the power relation between the Walt Disney Company and Pixar Animation Studios based on the critical political economy of communication (CPEC) approach.
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Madureira, Marco André Valente. "Ecocriticism in Disney/Pixar - Wall-E and the De-greening Cycle." Master's thesis, 2012. http://hdl.handle.net/10316/21113.
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Dissertação de Mestrado em Estudos Norte-Americanos, na área de especialização em Cultura Norte-Americana, apresentada ao Departamento de Estudos Norte-Americanos da Faculdade de Letras da Universidade de CoimbraFor the human species, migration has not only been a matter of survival, but also of empowerment, for example. In the case of North America, the European migration translated into colonization. The ‘exotic garden’ we recognize nowadays as the U.S.A. was at times occupied peacefully, other times with aggression. Gradually, the idea of natural abundance would be associated with wealth, democracy, and consumption. Besides the necessity to move in space, the human also longs for movement in time. For those who “suffer” from nostalgia, movement in space eases the anxiety. The origin of nostalgia has been subject of debate among several intellectuals of various disciplines. The consensus exists that the contemporary society is not satisfied with the status quo and that going back in time to compensate for something is a widespread desire. Nostalgia and imagination may lead to the creation of mental utopias. The motion picture Wall∙E (Disney/Pixar 2008) shows how a utopia of the Earth comes to exist after the humans have abandoned and forgotten about it as a result of extreme pollution. The concept of the “de-greening cycle” that I developed is partially depicted in the movie. According to this theory, the Earth is in a permanent cycle of evolution, destruction, and revitalization. The causes for destruction may be natural or not. This theory fits best into the discourse of ecology. With the rise of the environmental movement, ecology became popular and started being adopted by critical discourses, such as feminism, history, and philosophy. When literary studies seized ecology, ecocriticism emerged. This discipline studies the relationship between literature and nature. Subsequently, still in the U.S., ecocriticism became popular among scholars of cinema studies. Ecocriticism provides me the necessary tools to successfully associate my theory with Wall∙E. In this movie, after centuries in a state of practical numbness, the captain of the spaceship realizes that he has the moral obligation to take care of the Earth. With the help of the android couple Wall∙E and EVE, the humans, exiled in space, fight the consumption oriented dictatorship they lived under in order to go back to Earth. Once they are on the planet, the greening process is accelerated.
Para os humanos, migrar significa não só sobreviver, mas representa também a busca por poder, por exemplo. No caso da América do Norte, a migração dos europeus trouxe consigo a colonização. O „jardim exótico‟ que conhecemos hoje como os E.U.A. foi ocupado ora pacificamente, ora com violência. Gradualmente, a ideia de abundância natural viria a confundir-se com a de riqueza económica, democracia e consumo. Para além da necessidade de se mover no espaço, o ser humano também anseia o movimento no tempo. Para os indivíduos que “sofrem” de nostalgia, o movimento espacial alivia a ansiedade. A questão da origem do sentimento nostálgico tem sido debatida por vários intelectuais de várias áreas do saber. Existe o consenso de que a sociedade contemporânea não está satisfeita com o status quo e que um regresso no tempo para compensar algo é um desejo generalizado. A nostalgia e a imaginação possibilitam a construção mental de utopias. O filme Wall∙E (Disney/Pixar 2008) mostra como se desenvolve uma utopia do planeta Terra depois de os humanos o terem abandonado e esquecido por consequência da poluição extrema. O conceito de „ciclo de des-florescimento‟, desenvolvido por mim, encontra-se parcialmente representado neste filme. De acordo com esta teoria, a Terra encontra-se permanentemente num ciclo de florescimento, desflorescimento e repouso. A causa da desflorescimento pode ser natural, ou não. Esta teoria enquadra-se no discurso ecológico. Com o movimento ambiental, a ecologia ganhou notoriedade e começou a ser integrada em discursos críticos como o feminismo, a história, a filosofia, etc. Quando a área dos estudos literários se apoderou da ecologia, surgiu a ecocrítica. Esta disciplina preocupa-se com a relação entre a literatura e a natureza. Posteriormente, ainda nos E.U.A., a ecocrítica viria a tornar-se popular na área dos estudos cinematográficos. A ecocrítica oferece-me os instrumentos necessários para conseguir relacionar eficazmente a minha teoria com o filme. Em Wall∙E, após séculos num estado quase inativo, o capitão da nave toma consciência da sua obrigação moral de cuidar da Terra e, então, luta contra a ditadura orientada para o consumo, no qual vivia toda a população exilada no espaço e, com a ajuda do casal de robôs, Wall∙E e EVE, tentam voltar ao planeta. Quando regressam à Terra, o processo de florescimento é acelerado.
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Souza, Bruce Rodolfo de. "A expressão corporal e a evolução da animação em personagens inanimados." Master's thesis, 2012. http://hdl.handle.net/10400.14/16429.
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A evolução do cinema tem sido acompanhado pela tecnologia o que vem proporcionando cada vez mais possibilidades de realizações de novas ideias e de novas estórias. Graças a melhoria dos computadores é possível hoje em dia através dos efeitos especiais, criar novas oportunidades de contar algo que o argumentista escreveu e que antigamente eram praticamente impossíveis de realização.
Juntamente com o cinema, a animação também vem seguindo essas novas descobertas melhorando sua narrativa e sua forma de se expressar. Toda essa evolução é demonstrada através de uma série de personagens dos mais diferentes tipos como animais ou objetos inanimados, mas que são capazes de nos transmitir exemplos de sentimentos ao logo de uma estória, de maneiras cada vez mais convincentes. Personagens que supostamente não poderiam expressar sentimentos de felicidade, medo, compaixão como um carro chamado McQueen que tem a personalidade de alguém convencido e de que é bom em tudo o que faz. Ou então um animal como um peixe, com o nome de Dory e que é muito simpática e com problemas de memória, são exemplos dos quais a evolução das técnicas de animação e da tecnologia ajudaram os animadores a expressar todas essas características através dos personagens.
Mas nada disso teria tanta importância se não houvesse as atuações das personagens principais, do centro de todo o conjunto. Além do diretor e de toda a produção técnica, há os artistas que usam a descrição chamada “Expressão Corporal”, que tem como finalidade demonstrar todas as emoções e sentimentos que a estória tem a transmitir através dos atores. Tanto em um filme quanto em um show de teatro, são os atores que nos passam todas as sensações em suas ações. Graças à Expressão Corporal da atuação do ator no filme que podemos sentir e perceber toda a mensagem criada pelos produtores do filme/animação.
Esta dissertação tem como principal intenção o estudo da expressão corporal e sua maneira de transmitir emoções e sentimentos que são usadas nos filmes e na animação ao longo dos anos. Pretende-se conhecer parte da sua origem e como vem evoluindo ao longo do tempo através do desenvolvimento da tecnologia que proporciona cada vez mais desafios e novos meios para um animador/ator se preparar para atuar/interpretar ações em seres supostamente inanimados.The evolution of cinema has been followed by technology that is providing more and more opportunities for achieving new ideas and new forms of storytelling. Thanks to recent improvements in computer graphics, it is possible today, through special effects, to create new opportunities to create something that the writer imagined and that years ago were impossible to accomplish. Along with film, feature animation has also been following these new discoveries, improving their narrative and their way of expressing themselves. All this evolution is demonstrated through a series of characters of different types like animals or inanimate objects, that are able to demonstrate human feelings over the story, in ways increasingly more convincing. Characters, who supposedly could not express feelings of happiness, fear or compassion, like a car named Lightning McQueen, now has the personality of someone that is the best and that is good at everything he does. Or a fish named Dory that is very friendly and has memory problems. These are some examples of the evolution of animation techniques and technology which helped animators to express all these features through the characters. But none of this would matter so much if it were not for the actings of the main characters, the center of everything. In addition to the director and the entire technical production, there are artists who use a description called "Body Expression," which aims to show all the emotions and feelings that the story has to pass through the actors. Like in a movie or a theater show, it's the actors who show us all the feelings in their actions. Thanks to the body expression of the performance of the actor in the film, we can feel and see the entire message created by the producers of the film/animation. This dissertation has as main purpose the study of body language and its way of conveying emotions and feelings that are used in movies and animation over the years. It is intended to meet part of their origin and how it has evolved over time through the development of technology that provides increased challenges and new ways for an animator / actor to prepare to act / interpret actions of supposedly inanimate beings.
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Dias, Joana Filipa Cunha. "Personagens atípicas no cinema de animação : do movimento à personalidade." Master's thesis, 2015. http://hdl.handle.net/10400.14/19502.
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A presente dissertação consiste numa abordagem/estudo daquilo que se considerarão “personagens atípicas” no cinema de animação, através da análise das suas personalidades, comportamentos e movimentos.
Foram analisados seis personagens de filmes de animação, possessores de anomalias, de modo a compreender a influência das suas deformidades no modo como vivem. “Dumbo” (1941) de Samuel Armstrong e Norman Ferguson, “Finding Nemo” (2003), de Andrew Stanton e Lee Unkrich, e “The Hunchback of Notre Dame” (1996) de Gary Trousdale e Kirk Wise, introduzem, respectivamente, as personagens Dumbo, Nemo e Quasimodo com anomalias físicas inatas. O outro tipo de anomalias é definido como anomalias físicas adquiridas, que são obtidas posteriormente à nascença. Para este tipo analisaram-se personagens como o Hook do filme “Peter Pan” (1953) de Clyde Geronimi e Wilfred Jackson, Fergus do filme “Brave” (2012), de Brenda Chapman e Mark Andrews, e Hiccup do filme “How to Train Your Dragon2” (2010), de Dean DeBlois e Chris Sanders. Estas personagens têm em comum amputações de membros.
Todas estas personagens são diferentes desde a sua personalidade ao modo como se movimentam, pois cada uma se comporta de maneira diferente perante a sua atipicidade, adquirindo comportamentos que se traduzem de uma forma característica dada a sua anomalia. Embora existam dois tipos de anomalias físicas a serem estudados, em ambos os casos as personagens comportam-se irracionalmente de forma protegida, ou seja, o seu comportamento é influenciado pela anomalia em questão.
Após uma ligação do tema da presente dissertação com o projeto final de mestrado, estudou-se o desenvolvimento da curta-metragem “Ao Relento” (2015) de Joana Dias e Ricardo Pinheiro, formou-se uma conclusão sobre a dissertação.In this dissertation we will study the meaning of atypical characters in animation cinema through the analysis of their personality, behavior, and movement. Six disabled characters from different animation movies were analyzed in order to better comprehend the influence of their deformities on their way of living. Samuel Armstrong and Norman Ferguson’s Dumbo (1941), Andrew Stanton and Lee Unkrich’s “Finding Nemo” (2003), and Gary Trousdale and Kirk Wise’s “The Hunchback of Notre Dame” (1996) give us three characters with congenital physical deformities: Dumbo, Nemo and Quasimodo. As for acquired physical deformities, defined by appearing after birth, we analyzed Captain Hook from Clyde Geronimi and Wilfred Jackson’s “Peter Pan” (1953), Fergus from Brenda Chapman and Mark Andrews’s “Brave” (2012) and Hiccup from Dean DeBlois and Chris Sanders’ “How to Train Your Dragon2” (2010), which all possess limb amputations. All these characters have different personalities and movements, since they behave differently according to their handicap. Although there are two types of physical deformities being studied, both show that characters behave irrationally self-protective as a product of their specific deformity. After connecting this dissertation’s theme with the Master’s final project – an animation short film: Joana Dias and Ricardo Pinheiro’s Ao Relento (2015) – we will further analyze the development of said animation short film and summarize the whole dissertation into a conclusion.
Books on the topic "Disney Pixar"
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Artists, Disney Storybook, ed. Disney Pixar cars. Lincolnwood, Ill: Publications International, 2007.
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Jean-Paul, Orpinas, and Tilley Scott, eds. Disney Pixar Up. New York, NY: Random House, 2009.
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Disney Enterprises. Pixar Animation Studios. Disney Pixar toy story. New York: Scholastic, 2005.
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Studios, Pixar Animation. Disney Pixar: Story collection. New York: Random House, 2008.
Find full textBook chapters on the topic "Disney Pixar"
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Zornado, Joseph. "Disney, Pixar, and Neoliberal Nostalgia." In Disney and the Dialectic of Desire, 175–211. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62677-2_6.
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Haswell, Helen. "Fix it Felix! RevivingWalt Disney Animation Using the Pixar Formula." In Discussing Disney, 91–114. John Libbey Publishing, 2019. http://dx.doi.org/10.2307/j.ctvqc6k2q.9.
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Liu, Zheng, and Lei Ma. "Creativity in the Animation Industry." In Disruptive Technology, 1429–52. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9273-0.ch069.
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In the past 20 years, animation industry has developed rapidly due to the popularity of technology and a market demand on creativity. Large firms such as Disney and Pixar are continuously seeking strategies to expand, improve, and innovate, whereas most Chinese companies, as late comers are upgrading their capability through original design, technology development and policy support. This chapter focuses on the creativity in the animation industry, with an analysis on brand/character development, technology innovation, and policy influence. It starts with an introduction of the creativity in animation industry from both practice and literature perspectives. Then, there are five cases studies into companies with a highlight on their details of creative activities. Discussion is to address the critical issues of creativity in the animation industry, followed by a conclusion and recommendations for future research areas.
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Liu, Zheng, and Lei Ma. "Creativity in the Animation Industry." In Advances in Media, Entertainment, and the Arts, 216–39. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0504-4.ch011.
Full textAbstract:
In the past 20 years, animation industry has developed rapidly due to the popularity of technology and a market demand on creativity. Large firms such as Disney and Pixar are continuously seeking strategies to expand, improve, and innovate, whereas most Chinese companies, as late comers are upgrading their capability through original design, technology development and policy support. This chapter focuses on the creativity in the animation industry, with an analysis on brand/character development, technology innovation, and policy influence. It starts with an introduction of the creativity in animation industry from both practice and literature perspectives. Then, there are five cases studies into companies with a highlight on their details of creative activities. Discussion is to address the critical issues of creativity in the animation industry, followed by a conclusion and recommendations for future research areas.