Relevant bibliographies by topics / DreamWorks Animation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'DreamWorks Animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "DreamWorks Animation"

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DiLorenzo, Paul Carmen. "Premo: DreamWorks Animation's New Approach to Animation." IEEE Computer Graphics and Applications 35, no. 4 (July 2015): 14–21. http://dx.doi.org/10.1109/mcg.2015.83.

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Grincheva, Natalia. "The Form and Content of ‘Digital Spatiality’: Mapping the Soft Power of DreamWorks Animation in Asia." Asiascape: Digital Asia 6, no. 1-2 (April 29, 2019): 58–83. http://dx.doi.org/10.1163/22142312-12340102.

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Abstract The article explores a series of blockbuster exhibitions of DreamWorks Animation developed by the Australian Centre of the Moving Image (ACMI) in collaboration with one of the largest Hollywood producers. Curated by ACMI, this blockbuster exhibition was designed to provide a behind-the-scenes look into collaborative processes involved in DreamWorks animations. This exhibition travelled across the Asia-Pacific in 2015-2017 and was hosted by a number of museums, such as the ArtScience Museum in Singapore, the Te Papa Museum in New Zealand, the Seoul Museum of Art in South Korea, and the National Taiwan Science and Education Centre in Taiwan. It displayed over 400 unique objects from the studio’s archive ‘of rare and never before displayed material’, such as drawings, models, maps, photographs, posters, and other artworks. The article explores the highly favourable reception to the DreamWorks Animation blockbuster in different cities in Asia. It employs a geo-visualization of Asian engagement with the blockbuster exhibit to reveal and explain local and global mechanisms of ‘attraction’ power, generated by DreamWorks in different Asian countries. Contributing to the special issue, this article engages with two aspects of it: the form, cultural digital mapping; and the content, the nature of media pop culture exemplified through the traveling blockbuster.
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González, Rebeca Cristina López. "The Art of “Including Art” in Animation: DreamWorks’ Intertextual Games for All." Journal of Literary Education, no. 1 (December 8, 2018): 107. http://dx.doi.org/10.7203/jle.1.12209.

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Art forms become interrelated when intertextual phenomena occur. The choice of previous art forms to create humour may seem to be a playful game, but it is the result of many kinds of inserted messages. Fourteen animated feature films by DreamWorks have been analysed and classified in depth (by using Sebeok’s (1986) intertextual categories, which were also described by Hatim & Mason (1990)), in order to demonstrate how animation is an art that encompasses other artistic productions. Firstly, art and animation will be defined in order to, secondly, use the corpus to exemplify the intertextual connections from other art forms. Lastly, the final quantitative and qualitative results will substantiate the conclusion that these productions by DreamWorks are an example of artistic cinematographic intertextuality. Key words: animation, intertextuality, art forms, Children’s Literature.. Resumen Las formas artísticas se interrelacionan cuando se pone en práctica el fenómeno intertextual. El uso de formas artísticas previas para crear humor puede parecer un juego pero es el resultado de la inserción de varios tipos de mensajes en un texto/discurso. Se analizan y clasifican en profundidad catorce películas de animación creadas por DreamWorks (se emplea para ello las categorías intertextuales propuestas por Sebeok (1986) descritas, a su vez, por Hatim & Mason (1990)), con el propósito de demostrar cómo la animación es un arte que engloba a otras producciones artísticas. En primer lugar, se definen los conceptos de arte y animación para, acto seguido, mostrar mediante el corpus cuáles son las conexiones intertextuales que provienen de otras formas artísticas. Los resultados cuantitativos y cualitativos permiten concluir que las producciones animadas de DreamWorks son un ejemplo de intertextualidad cinematográfica artística. Palabras clave: arte, álbumes, museos, galerías, contexto. Resum Les formes artístiques s’interrelacionen quan es posa en pràctica el fenomen intertextual. L’ús de formes artístiques prèvies per crear humor pot semblar un joc però és el resultat de la inserció de diversos tipus de missatges en un text/discurs. S’analitzen i classifiquen en profunditat catorze pel·lícules d’animació creades per DreamWorks (s’hi empra per a això les categories intertextuals proposades per Sebeok (1986) descrites, d’altra banda, per Hatim & Mason (1990)), amb el propòsit de demostrar com l’animació és un art que engloba d’altres produccions artístiques. En primer lloc, es defineixen els conceptes d’art i animació per a, tot seguit, mostrar mitjançant el corpus quines són les connexions intertextuals que provenen d’altres formes artístiques. Els resultats quantitatius i qualitatius permeten concloure que les produccions animades de DreamWork són un exemple d’intertextualitat cinematogràfica artística. Paraules clau: animació, intertextualitat, formes artístiques, literatura infantil i juvenil.
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Shen, Vivian. "Legal Issues Arising from Comcasts Acquisition of DreamWorks and Oriental DreamWorks." Advances in Economics, Management and Political Sciences 32, no. 1 (November 10, 2023): 156–62. http://dx.doi.org/10.54254/2754-1169/32/20231585.

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Comcast Corporations acquisition of DreamWorks Animation SKG Inc. in 2016 presents a case study of the legal complexities involved in the merger and acquisition legal framework in the United States and China. This paper explores the different aspects of this acquisition, including antitrust regulations, cross-border legal issues, minority shareholder rights, intellectual property management, and post-acquisition integration. Antitrust concerns and foreign regulations, such as Chinas Anti-Monopoly Law, play a significant role in this case which highlights the necessity of compliance with regulatory frameworks to avoid penalties and legal disputes. The importance of protecting minority shareholders' rights in an acquisition is demonstrated by the lawsuit filed by AACERS against DreamWorks CEO Jeffrey Katzenberg. The need for transparency, fairness, and fulfilling fiduciary duties is crucial to mitigate the risk of legal conflicts. This paper also includes the transaction of intellectual property assets. Evaluate the post-acquisition integration procedure, including management restructuring, marketing strategy, and layoffs, with a focus on the necessity of dispute resolution and maintaining compliance with the relevant laws and regulations. Overall, the acquisition of DreamWorks Animation shows some valuable insights and experiences of the legal complexities of an acquisition that involves a cross-border company. Companies can accelerate the acquisition process and integrate smoothly after the acquisition by carefully considering these legal complexities before making the deal.
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Sharp, Brian. "Mathematical Explorations: Getting a Bee in Math Class." Mathematics Teaching in the Middle School 14, no. 3 (October 2008): 182–89. http://dx.doi.org/10.5951/mtms.14.3.0182.

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In 2007, DreamWorks Animation released Bee Movie, an animated film cowritten and produced by comedian Jerry Seinfeld. In the film, honeybee Barry B. Benson is on a quest to change his predetermined career path, namely, a life of making honey. The filmmakers used various characteristics of honeybees to create an entertaining movie. Teachers can also use facts about honeybees to create interesting mathematics activities. This article describes two activities that combine the characteristics of honeybees with important mathematical concepts.
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Jiang, Fei, and Kuo Huang. "Hero is Back- The rising of Chinese audiences: The demonstration of SHI in popularizing a Chinese animation." Global Media and China 2, no. 2 (June 2017): 122–37. http://dx.doi.org/10.1177/2059436417730893.

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This article studies how Chinese audiences’ participation contributes to a new all-time animation box-office champ, “Monkey King: Hero is Back,” and how such participation may contribute to facilitating a richer and more varied cultural life in China in the future. This made-in-China animation film snatched the throne from DreamWorks Animation’s “Kung Fu Panda 2” by breaking the latter’s 4-year record (617 million RMB) after announcing its box-office sale had exceeded 800 million RMB on 4 August. The significance of the animation is approved by a seminar held by the Publicity Department of the Central Committee of the Communist Party of China and State Administration of Radio, Film, and Television, naming it “the milestone of domestic animation film production” on 4 August. The legend of the animation is an exemplification of the enthusiasm of Chinese audiences, who identify themselves not only as fans but also followers and cheerleaders of the film. They self-addressed themselves as zi lai shui (literally means tap-water, 自来水), figuratively means the Internet mercenaries willing to advertise the film on social media at their own expense. Drawing on the literature of power and influence, fans of “Monkey King: Hero is Back” will be interviewed and their online activities and comments will be analyzed to find out (1) how the scattered audience members built a united identification online and (2) how such spontaneous but also well-organized Internet aggregation turns into SHI (overwhelming with numerical strength, social capital, and influence) and further empowers the Chinese audiences in an era in which social media prosper in China.
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Wojciechowska-Pieszko, Anna. "Translating intertextuality in animated films – an analysis of DreamWorks, Disney and Pixar animations." Polonica 42 (2022): 5–28. http://dx.doi.org/10.17651/polon.42.1.

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Intertextuality focuses on the relationship between different texts, either spoken or written. These connections have been the subject of research for many scholars around the world and initially were discussed mainly from the point of view of literary theory (Tomaszkiewicz, 2006, p. 175). The aim of this paper is to examine intertextual references in the context of translation theory, taking into account the various techniques and strategies employed when translating direct or indirect references in a dubbing format. The author analy-ses dialogues from the DreamWorks production “Shrek”(2001), the Disney films “Zootopia” (2016) and “Wreck-It-Ralph”(2012), as well as the Pixar Animation Studios film “Toy Story 3”(2010) with the aim of identifying intertextual references in the source text and comparing them with their Polish and German translations. The author also considers the sources of intertextuality in animation films and the translator’s role in decontextualizing this genre in the target language, drawing attention to the issue of discourse and the agency of audiovisual translators.
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Wang, Qiangchun. "Kung Fu Panda: The Value of Chinese Culture in Digital Films." Frontiers in Business, Economics and Management 12, no. 1 (November 16, 2023): 104–7. http://dx.doi.org/10.54097/fbem.v12i1.13969.

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The digital film Kung Fu Panda, produced by DreamWorks Animation of Paramount Pictures, has immediately become a hotspot worldwide since it was released in 2008. The essential reason for its bloom lies in that the film integrates Chinese culture with the spirit of the age; more specifically, by using digital film technology professionally, Chinese culture is embodied in the elements of the film, such as characters, dialogues, actions, music, scenes, etc. In a word, digital film technology brings out eye-catching brilliance when fused into Chinese culture; at the same time, Chinese culture presents immeasurable artistic and market value in digital films.
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Ma, Lei, Cen Qian, Zheng Liu, and Yue Zhu. "Exploring the Innovation System of the Animation Industry: Case Study of a Chinese Company." Sustainability 10, no. 9 (September 8, 2018): 3213. http://dx.doi.org/10.3390/su10093213.

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In the past 10 years, the animation industry has developed rapidly due to new technology and market expansion. Leading firms such as Disney are continuously seeking strategies to expand business towards products and service innovation, whereas Pixar and DreamWorks focus mainly on technology management. Driven by market and government policy, there is a blooming of the animation industry in China. However, most Chinese companies, in shortage of knowledge and experience, are unclear about innovation strategies. Thus, this paper aims to investigate the innovation system of China’s animation industry as a late comer. The literature is covered together with an industry review. To further explore the details, an in-depth case study into a Chinese company is conducted. This company has developed an open innovation system by interacting with industry, university and government; meanwhile, it is penetrating into the character business and service sector, seeking for sustainability. Findings indicate that a combination of internal knowledge management and open innovation is important; government plays a vital role at the early stage of forming the innovation system; innovation is a dynamic process with different configurations at each stage. Discussions are given to address the critical issues of the innovation system in the animation industry, followed by conclusions and recommendations for future research areas.
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Azza, Sekar Yolanda. "THE TRADITIONAL GENDER ROLES STEREOTYPES AS SEEN IN TROLLS (2016) THE DREAMWORKS ANIMATION MOVIE." SIGEH ELT : Journal of Literature and Linguistics 2, no. 2 (September 8, 2022): 91–105. http://dx.doi.org/10.36269/sigeh.v2i2.518.

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In recent years, literature is not merely about poetry, prose, novel, short story but also the movie. One of the exciting animation movies is Trolls, produced by DreamWorks Animation in 2016. Undoubtedly, movies are not always about entertainment but can persuasively create an ideology in the kids' minds. Gender stereotypes are a negative impact of ideology that exists all over the world. Two research questions are formulated; what are the stereotypes towards women in Trolls movie and what ideology the movie seems to promote. This research aims to reveal the traditional stereotype towards women in Trolls movies and make the audience aware of the ideology of gender stereotypes towards women. This research applies library research with the descriptive qualitative method. Since this research analyzes gender stereotypes towards women in the movie, binary opposition theory can see the movie's structure. The writer concludes that women’s traditional gender roles stereotypes still exist in this movie. The stereotypes over women through Poppy as the character can be seen as irrational, weak, and submissive. The researcher also can find the patriarchal ideology. The movie promotes the gender issue in this film that shows the man is superior to the woman
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Dissertations / Theses on the topic "DreamWorks Animation"

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Summers, Sam. "Intertextuality and the break from realism in DreamWorks Animation." Thesis, University of Sunderland, 2018. http://sure.sunderland.ac.uk/9180/.

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This thesis contextualises and historicises the contribution of DreamWorks Animation to the dominant aesthetic of contemporary American feature animation from the early 2000s to the present day. Specifically, it aims to justify the claim that mainstream feature animation has shifted away from hyperrealism and towards a form of ‘narrative-cartoonalism’ predicated on non-visual departures from realism. The thesis introduces this term to counteract the focus on the visual in conceptions of animated realism, and aims to identify the extent to which the DreamWorks studio played a key role in this shift, particularly through its use of intertextuality. Tracing the history of intertextuality in animation from the 1920s to the present day, the thesis looks to establish DreamWorks’ position within this lineage by closely examining the studio’s use of star performances, contemporary music, generic pastiche and allusive comedic gags in its features, and discussing the various diegetic contradictions that result. Ultimately, I intend for this thesis to contribute a crucial approach to understanding one of the key studios working during a hugely significant period of western feature animation, not only illuminating the output of Dreamworks but of this period as a whole. Culturally important yet critically neglected, research into the aesthetics of this modern era is essential to the progression of animation studies.
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Zanini, Marco Antonio Rolim. "Proposição de um método para avaliação de empresa de computação gráfica: um estudo de caso da dreamworks animation." reponame:Repositório Institucional do FGV, 2010. http://hdl.handle.net/10438/7968.

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Submitted by Paulo Junior (paulo.jr@fgv.br) on 2011-04-27T20:58:32Z No. of bitstreams: 1 Marco Antonio Zanini CURITIBA.pdf: 423690 bytes, checksum: 4028bb753ea17b239f10336290fb6936 (MD5)
Approved for entry into archive by Paulo Junior(paulo.jr@fgv.br) on 2011-04-27T20:58:59Z (GMT) No. of bitstreams: 1 Marco Antonio Zanini CURITIBA.pdf: 423690 bytes, checksum: 4028bb753ea17b239f10336290fb6936 (MD5)
Made available in DSpace on 2011-05-02T12:58:24Z (GMT). No. of bitstreams: 1 Marco Antonio Zanini CURITIBA.pdf: 423690 bytes, checksum: 4028bb753ea17b239f10336290fb6936 (MD5) Previous issue date: 2010-06-15
Avaliar uma empresa nos dias de hoje é algo corriqueiro e relativamente fácil de ser feito, na maioria dos casos, quando a empresa se adequa as metodologias disponíveis. Este trabalho se propõe a avaliar uma empresa que possui características impares, dificultando o uso dos métodos mais tradicionais hoje em uso. A empresa Dreamworks Animation SKG, estúdio norte-americano especializado me produções áudio visuais em computação gráfica para o cinema, possui é caracterizada por possuir em sua maioria ativos intangíveis, tanto como matéria prima quanto produto final, são historias que se convertem em filmes animados por computador. Este cenário propicia algumas peculiaridades, como por exemplo, a dificuldade de previsão dados financeiros futuros, devido às receitas da empresa estarem fortemente ligadas ao sucesso e/ou fracasso das produções lançadas. Como se trata de conteúdo muito subjetivo, como tudo que é relativo à arte. O trabalho apontou a proposta de uma solução que permite certa confiabilidade na previsão de receitas geradas pelo lançamento de uma produção. Há uma forte relação entre a receptividade do lançamento em seus dias de estréia e o alto retorno gerado pelo mesmo, o que não acontece com a relação entre o custo da produção e seu sucesso nas bilheterias.
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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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Books on the topic "DreamWorks Animation"

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Summers, Sam. DreamWorks Animation. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7.

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Mazza, Matteo. DreamWorks Animation: Il lato chiaro della luna. Milano: Bietti, 2019.

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Burton, Bonnie. Abominable: DreamWorks Animation. Cameron + Company, 2019.

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Damaschke, Bill. Art of DreamWorks Animation. Australian Centre for the Moving Image, 2014.

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Diaz, Cameron. Art of DreamWorks Animation: Celebrating 30 Years. Cameron + Company, 2024.

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Dreamworks Animation Celebrating 20 Years Of Art. Abrams, 2014.

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The Art Of Dreamworks Megamind Bad Brilliant Blue. Insight Editions, 2010.

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Summers, Sam. DreamWorks Animation: Intertextuality and Aesthetics in Shrek and Beyond. Springer International Publishing AG, 2021.

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Summers, Sam. DreamWorks Animation: Intertextuality and Aesthetics in Shrek and Beyond. Palgrave Macmillan, 2020.

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Morris, Iain R., and Lana Condor. Art of DreamWorks Ruby Gillman, Teenage Kraken. Abrams, Inc., 2023.

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Book chapters on the topic "DreamWorks Animation"

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Summers, Sam. "Layered, Like Onions: Introducing DreamWorks’ Intertextuality." In Palgrave Animation, 1–31. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7_1.

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Summers, Sam. "Shrek Gets Shreked: DreamWorks’ Online Afterlife." In Palgrave Animation, 195–221. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7_7.

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Summers, Sam. "The Shrekoning: DreamWorks’ Influence Over 2000s Animation." In Palgrave Animation, 161–94. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7_6.

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Summers, Sam. "‘All Star’ Soundtracks: DreamWorks and the Pop Song." In Palgrave Animation, 65–90. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7_3.

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Summers, Sam. "Why Is Shrek Funny?: DreamWorks and the Intertextual Gag." In Palgrave Animation, 33–64. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7_2.

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Summers, Sam. "Woody Allen in the Anthill: DreamWorks and Star Performance." In Palgrave Animation, 91–124. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7_4.

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Summers, Sam. "Parody, Pastiche and the Patchwork World: DreamWorks and Genre." In Palgrave Animation, 125–59. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-36851-7_5.

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Benhamou, Eve. "The DreamWorks Formula and the Post-feminist Disney Couple: Tangled ’s Romantic Parodies." In Contemporary Disney Animation, 77–99. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474476126.003.0004.

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First, this chapter analyses Disney’s reappropriation of what can be described as the ‘DreamWorks formula’ in Tangled, combining ‘contra-diegetic intertextuality’ and critical parody. This reappropriation stands out throughout the paratextual and textual portrayal of Flynn Rider, and is particularly notable in the first half of the film. In parallel with Flynn’s double act, this chapter examines how Tangled gradually reveals its formulaic identity, mediating its DreamWorks-style performance through tropes typical of the studio’s sentimental fairy tales and idealised romance. Such a delicate balance between parody and idealisation also characterises the construction of gender and coupledom. The second part of this chapter investigates the typically post-feminist sensibilities characterising Rapunzel’s and Flynn’s portrayal both in Tangled and in the subsequent short Tangled Ever After. From a wider perspective, this chapter uses Tangled as a case study to reflect upon the influence of an animation studio beyond Disney’s cinematic universe (DreamWorks) on the former’s contemporary output and its formula.
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Holliday, Christopher. "DreamWorks Animation, Metalepsis and Diegetic Deconstruction." In The Computer-Animated Film, 187–204. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0010.

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Chapter Nine applies a framework drawn from Gérard Genette’s (1983) notion of “metalepsis” (recently recovered within contemporary animation studies) to explain the behaviour of computer-animated film characters who freely ascend from the fictional world into the surrounding promotional spaces. Although animation has a long tradition of deconstruction and self-reflexive practices, this chapter offers new space to consider how the seamless worlds of computer-animated films can equally be conceptualised according to a deconstructive comedy of metalepsis. This chapter argues that computer-animated film characters are able to abruptly intrude into company logos, corporate signatures, credits sequences and even features of film form. It maps such repeating comic devices onto wider historical developments in studio signification, digitally-assisted logo design and the promotional strategies of contemporary Hollywood cinema. This chapter also affords the specific opportunity to focus on the cycle of feature-length computer-animated films produced by the Dreamworks Animation studio, which exhibit an unprecedented and widely-operational mingling of promotional space with the animated activity of its digital characters.
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Benhamou, Eve. "Animating a Formula: Disney, Genre and Hollywood Animation." In Contemporary Disney Animation, 22–48. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474476126.003.0002.

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This chapter investigates the transitional phase, at times tumultuous and experimental, of Disney’s history, from the mid-1990s to the late 2000s. It examines how profound industrial changes, both within Disney and in the wider mainstream animation landscape, impacted the studio’s animated output, and most specifically its generic identity and associated formula. Analysing this period provides key context to subsequently address the focus of the book, namely the animated films released from 2008 onwards. The mid-1990s and 2000s exemplify Disney’s continuous efforts to reinvent itself, yet are unique in the company’s history: the studio was being increasingly sidelined within the unprecedently saturated market of mainstream animation. The arrival of Pixar and DreamWorks notably altered Disney: during this period, the studio adopted different approaches towards its own canon, ultimately leading to the double impulse analysed in the rest of the book: self-reflexive parody and nostalgic celebration, generic revision and expansion.
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Conference papers on the topic "DreamWorks Animation"

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"DreamWorks animation presents "HOME"." In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2745234.2773229.

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"DreamWorks animation presents "HOME"." In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2773215.2773229.

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Pohle, Sven, Michael Hutchinson, Brent Watkins, Dick Walsh, Stephen Candell, Frederick Nilsson, and Jason Reisig. "DreamWorks animation facial motion and deformation system." In DigiPro '15: The Digital Production Symposium. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2791261.2791262.

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Modesto, Lucia, and Dick Walsh. "DreamWorks animation's face system, a historical perspective." In ACM SIGGRAPH 2014 Talks. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2614106.2614131.

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