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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..
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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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Lukmantoro, Dhanang, Singgih Adhi Prasetyo, and Husnul Hadi. "Analisis Nilai Moral Dalam Film Animasi “The Boss Baby” Produksi Dreamworks Animation Bagi Siswa Sekolah Dasar." Jurnal Filsafat Indonesia 1, no. 3 (March 22, 2019): 128. http://dx.doi.org/10.23887/jfi.v1i3.17157.
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Penelitian ini bertujuan untuk mengetahui apa saja nilai moral dalam Film Animasi “The Boss Baby” karya DreamWorks Animation bagi Siswa Sekolah Dasar. Jenis penelitian ini adalah penelitian kualitatif dengan subjek penelitian yaitu siswa kelas V SD Negeri 2 Tamanrejo. Data yang diperoleh menggunakan teknik simak catat, Kangket, wawancara, catatan lapangan, dan dokumentasi. Hasil penelitian yang telah dideskripsikan yaitu film animasi “The Boss Baby” mengandung nilai moral yang baik untuk anak usia sekolah dasar antara lain nilai kejujuran, keadilan, toleransi, bijaksana, disiplin diri, suka menolong, berbelas kasih, kerja sama, berani, dan demokratis. Namun untuk anak usia sekolah dasar hanya mampu menganalisis nilai kerja sama dan suka menolong dari film tersebut. Film ini dapat dijadikan sarana penanaman moral untuk anak dengan bimbingan guru ataupun orang tua..Kata kunci: Nilai Moral, The Boss Baby, Sekolah Dasar
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Kim, Yun-Jung. "A Study of Ironic Features in Full-length Animation of PDI Dreamworks and Pixar - Focusing on and." Cartoon and Animation Studies 36 (September 30, 2014): 1–17. http://dx.doi.org/10.7230/koscas.2014.36.001.
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Klaehn, Jeffery. "‘It’s the brightness of the idea’: Talking comics with Brendan McCarthy." Studies in Comics 12, no. 1 (November 1, 2021): 151–57. http://dx.doi.org/10.1386/stic_00058_7.
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Visionary British artist and designer Brendan McCarthy is internationally known for his singularly unique approach to art and craft. His comics debut, Sometime Stories, was published in 1977, and he went on to publish work with Vanguard Illustrated, Strange Days, 2000 AD, and Vertigo. He was part of the famous ‘British Invasion’ of the comics industry in the 1980s, which actually led to the creation of DC Vertigo and created new pathways for comics to gain wider influence within both Hollywood and the broader pop culture. With writer Peter Milligan, he co-created Freakwave, Strange Days, Paradax!, Rogan Gosh and Skin, and he painted covers for Milligan’s Shade the Changing Man DC Vertigo series. A pioneer in the field of computer animation, he created visuals for the 90s computer animated TV series ReBoot, which preceded Pixar and Dreamworks, and he contributed to a wide range of TV series, feature films, animation, and commercials during his more than two decades spent working in Hollywood. He co-wrote and was a designer on the feature film Mad Max: Fury Road (2015). His more recent comics work includes Dream Gang, published with Dark Horse, and The Zaucer of Zilk (with writer Al Ewing and colourist Len O’Grady) for 2000 AD. This interview explores key dimensions of his career in comics, British comics and the ‘British Invasion’ of the 1980s, Paradax!, and the influence and inspiration of David Bowie.
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van Rooij, Malou. "Carefully Constructed Yet Curiously Real: How Major American Animation Studios Generate Empathy Through a Shared Style of Character Design." Animation 14, no. 3 (November 2019): 191–206. http://dx.doi.org/10.1177/1746847719875071.
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Contemporary computer-animated films by the major American animation studios Pixar, Disney and DreamWorks are often described as evoking (extremely) emotional responses from their ever-growing audiences. Following Murray Smith’s assertion that characters are central to comprehending audiences’ engagement with narratives in Engaging Characters: Fiction, Emotion, and the Cinema (1995), this article points to a specific style of characterization as a possible reason for the overwhelming emotional response to and great success of these films, exemplified in contemporary examples including Inside Out (Pete Docter and Ronnie del Carmen, 2015), Big Hero 6 (Don Hall and Chris Williams, 2014) and How to Train Your Dragon (Chris Sanders and Dean DeBlois, 2010). Drawing on a variety of scholarly work including Stephen Prince’s ‘perceptual realism’, Scott McCloud’s model of ‘amplification through simplification’ and Masahiro Mori’s Uncanny Valley theory, this article will argue how a shared style of character design – defined as a paradoxical combination of lifelikeness and abstraction – plays a significant role in the empathetic potential of these films. This will result in the proposition of a new and reverse phenomenon to Mori’s Uncanny Valley, dubbed the Pixar Peak, where, as opposed to a steep drop, audiences reach a climactic height in empathy levels when presented with this specific type of characterization.
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Mou, Tangjuan, and Il-Tae Kim. "Analysis of the use of traditional Chinese cultural elements in DreamWorks Animation - Focusing on scene design for〈Kung Fu Panda〉-." Cartoon and Animation Studies 66 (March 31, 2022): 59–83. http://dx.doi.org/10.7230/koscas.2022.66.059.
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Monti, Silvia. "“Hola, Señorita. Do You Like Gazpacho?” Challenges and Trends in the Audiovisual Translation of Linguacultural Otherness in American Multilingual Animated Films and Their Italian Dubbed Version." Languages 8, no. 2 (April 26, 2023): 116. http://dx.doi.org/10.3390/languages8020116.
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In the last decades, ethnolinguistic Otherness has assumed an increasingly prominent position in many audiovisual products focusing on non-mainstream cultures otherwise quite voiceless in audiovisual media and giving voice to multilingual discourse practices where code-switching stands out as a key conversational strategy in expressing linguacultural diverse identities. This ties issues of on-screen multilingualism to the field of audiovisual translation and raises new challenges as far as the screen representation/translation of linguacultural specificities is concerned. All this is interestingly to be observed in animated films; indeed, since the early 1990s, such important animation production companies as Walt Disney, Pixar, and Dreamworks began to produce ethnically diverse films offering deep sociolinguistic insights into non-dominant countries and populations whose richness is conveyed on the screen by dialogues interspersed with their native languages, acting as vital symbols of their ethnocultural identity. Starting from these observations, this paper aims at looking contrastively and diachronically at how L3s, i.e., languages different from both the language of the original film and the language of the film’s dubbed version, used in instances of turn-specific, intersentential and intra-sentential code-switching, have been dealt with in the original version and in the Italian dubbed version of thirty American multilingual animated films, released between 1991 and 2022. The main objectives of this study are: to verify to what extent the original ethnolinguistic Otherness is either retained for the Italian audience or manipulated in dubbing; to observe whether and how the screen translation studies’ approach in conveying linguistic diversity in animation has possibly changed over the last thirty years; and to point out what can be achieved by audiovisual translation in terms of intercultural/interlingual transmission when autochthonous linguacultures are represented in animated films.
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Carrere González, Alberto. "La caligrafía en el diseño de estilos gráficos para el cine de animación: Grangel Studio y el ejemplo de Corpse Bride." Quintana: revista do Departamento de Historia da Arte, no. 16 (December 29, 2018). http://dx.doi.org/10.15304/qui.16.3317.
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El dibujo está en la base del estilo gráfico de una película de animación. Por su parte, la caligrafía se relaciona con el dibujo y la pintura por la gestualidad del trazo, ese índice tan significativo del signo plástico en arte y comunicación visual. Además, la caligrafía tiene un lugar diferenciado en la historia del diseño gráfico y la escritura. Grangel Studio crea personajes y estilos gráficos para DreamWorks, Sony Animation o Warner Bros, en los que la caligrafía tiene un papel relevante. Con ese marco teórico y referentes, el artículo indaga cómo la caligrafía participa en el estilo de las películas, con el caso paradigmático de Corpse Bride (2005), donde las caligrafías del filme y promociones, junto al dibujo de personajes, colaboran con el universo del relato, afín a las recreaciones neogóticas del director Tim Burton.