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Journal articles on the topic 'DreamWorks'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

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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2

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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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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4

Roelstraete, Dieter. "Agonies and Ecstasies: Kai Althoff's Dreamworks." Afterall: A Journal of Art, Context and Enquiry 19 (October 2008): 36–43. http://dx.doi.org/10.1086/aft.19.20711711.

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5

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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6

Confoy, Maryanne. "Book Review: Dreamworks: A Meeting of Spirituality and Psychology." Pacifica: Australasian Theological Studies 11, no. 1 (February 1998): 109–11. http://dx.doi.org/10.1177/1030570x9801100119.

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7

Oltra Ripoll, Maria Dolores. "La traducció per al doblatge de l’adaptació d’un clàssic de la literatura infantil: El gat amb botes." MonTI. Monografías de Traducción e Interpretación, no. 14 (April 28, 2022): 406–38. http://dx.doi.org/10.6035/monti.2022.14.14.

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En aquest article es du a terme una anàlisi qualitativa i quantitativa dels principals problemes de traducció presents en la sèrie d’animació The Adventures of Puss in Boots (DreamWorks 2011-2018, EUA) i la seua versió traduïda per al doblatge al valencià per al canal de televisió À Punt Mèdia. A partir d’una metodologia d’anàlisi contrastiva i descriptiva, aquest estudi se centra en les tècniques i estratègies de traducció emprades en el text meta per a resoldre aquests problemes.
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8

Hinkins, Jillian. "‘Biting the hand that feeds’: Consumerism, Ideology and Recent Animated Film for Children." Papers: Explorations into Children's Literature 17, no. 1 (May 1, 2007): 43–50. http://dx.doi.org/10.21153/pecl2007vol17no1art1205.

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It is the intention of this paper to explore the impact of consumerism on recent children's animated film, with a particular emphasis on some of the ways in which the medium is constructed in order to sell itself, and the effect that ideologies of consumption can be seen as having on the ideologies both embedded in and overtly conveyed through filmic texts in general and including a close analysis of Dreamworks' 2006 animated film Over the Hedge.
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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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Liu, Yan. "Research on the Creative Style of DreamWorks" Animated Film Script." Journal of the Korea Entertainment Industry Association 14, no. 1 (January 31, 2020): 97–106. http://dx.doi.org/10.21184/jkeia.2020.1.14.1.97.

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López González, Rebeca Cristina. "Humorous elements and translation in animated feature films: DreamWorks (2001-2012)." MonTi: Monografías de Traducción e Interpretación, no. 9 (2017): 279–305. http://dx.doi.org/10.6035/monti.2017.9.10.

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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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Sutton, D. "The DreamWorks effect: the case for studying the ideology of production design." Screen 45, no. 4 (December 1, 2004): 383–90. http://dx.doi.org/10.1093/screen/45.4.383.

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14

Doyle, Richard. "Introduction: Among the Psychonauts with DreamWorks? Imagining Technoscience after the Transhuman Prohibition." Configurations 16, no. 2 (2008): 139–44. http://dx.doi.org/10.1353/con.0.0053.

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Dias, Luiz Antonio Xavier. "O grotesco em Shrek 2 (2004): um olhar semiótico." ArReDia 6, no. 10 (June 10, 2017): 75. http://dx.doi.org/10.30612/arredia.v6i10.5941.

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A partir da base teórica pautada nos fundamentos semióticos de carnavalização e grotesco proposta por Bakhtin (1999; 1981; 2003; 1992) – neste artigo, apresentamos o resultado de pesquisa teórica que procurou investigar a noção de carnavalização do grotesco e também do riso em duas cenas enunciativas da obra cinematográfica Shrek 2 (2004). A animação da Dreamworks, teve sua inspiração na obra literária Shrek, seu maior mérito foi o de desconstruir personagens típicos como o ogro que se torna príncipe e uma princesa também ogra, tais fatos trouxeram grande mudança para o seguimento de animações digitais. A partir da descrição das cenas e do arcabouço teórico proposto pelo teórico russo, nosso objetivo foi de desvelar vários sentidos alicerçados no riso e no grotesco.
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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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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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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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Wilhite, Chelsea J., Criss Wilhite, and W. Larry Williams. "Dragon training and changing culture: A review of DreamWorks’ How To Train Your Dragon." Behavior Analyst 33, no. 2 (October 2010): 239–42. http://dx.doi.org/10.1007/bf03392225.

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Venegas Ramos, Alberto. "Emergencia y formación de subjetividades históricas en los videojuegos de acción contemporáneos. El caso del desembarco de Normandía." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 31 (February 11, 2019): 116–31. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2019313091.

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Los videojuegos estadounidenses ambientados en la Segunda Guerra Mundial han recreado con frecuencia la denominada Operación Overlord. Las grandes sagas como Call of Duty (Treyarch, 2003-2017) o Medal of Honor (Dreamworks Interactive et alii, 1999-2012), con millones de unidades vendidas, han impulsado una visión heroica y nacionalista del conflicto y han dado forma a un mito histórico, a una «mitohistoria», en torno al hecho del pasado que no se corresponde con los documentos, testimonios orales y cultura material recogida, evaluada, criticada e interpretada de dicha operación. En este trabajo pretendemos evaluar tres cuestiones básicas en torno a este hecho, la creación de subjetividades históricas, la primera es el porqué de la emergencia de estas, la segunda es la forma en la que se presentan y su relación con la sociedad contemporánea y la tercera la individualidad del medio del videojuego para el transporte y divulgación de estos discursos históricos subjetivos.
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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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XU, Manping, Jiasheng Zhu, and Bingjun Ma. "A Comparative Analysis between Walt Disney and DreamWorks Based on the Theory of Semantic Roles of Argument Nominals." Journal of Linguistics and Education Research 4, no. 2 (December 31, 2022): 14. http://dx.doi.org/10.30564/jler.v4i2.4260.

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AbstractAnchored on Yule’s categories of semantic roles, the present study examined the language of cartoon scripts with Chinese characters in Walt Disney’s Mulan 1 and 2 and DreamWorks’s Kung Fu Panda 1 and 2. Specifically it described the: (1) semantic features of the scripts in terms of semantic roles; and (2)similarities and differences in the language of the scripts semantically. Data analyzed were limited to 800 sentences which were randomly selected from the scripts of Mulan 1 and 2 and Kung Fu Panda 1 and 2. More specifically, 200 lines per film were analyzed by taxonomizing the utterances in terms of identifying the semantic roles of argument nominals in each utterance. Results revealed the roles of agent and experiencer in the subject positions are dominant in contrast with the frequency of occurrences of theme, goal, location and source. In conclusion, the language of animated film is relatively simpler, literal and direct to suit the level of the target audience who are generally children. Finally, this research suggests that more linguistic levels should be conducted to explore the language features on cartoon movies in the future.
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Mérida Serrano, Rosario, and Tarxilias Heras Peinado. "Análisis de Género del Cine de Animación Infantil como Recurso para una Escuela Coeducativa." Pixel-Bit, Revista de Medios y Educación, no. 62 (2021): 183–208. http://dx.doi.org/10.12795/pixelbit.86062.

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Esta investigación analiza la figura femenina y masculina en 11 películas de animación de las factorías Disney, Pixar y DreamWorks. Se busca aportar información sobre la existencia de roles sexistas y discriminatorios en películas que pueden ser utilizadas como recurso didáctico y comprobar si son un modo de transmisión de contravalores que comprometan la socialización en igualdad de género de la infancia. La investigación se ha llevado a cabo utilizando un enfoque cualitativo de análisis de contenido, a través de un registro analítico elaborado ‘ad hoc’, para conocer en qué porcentaje está representada la figura femenina, su relación con otros personajes y las tramas argumentales asociadas a cada protagonista en función de su género. Los resultados revelan que existe un desequilibrio en la representación femenina y masculina y que se identifican comportamientos sexistas que perpetúan la tradicional imagen social de mujeres y hombres. Se muestran dos nuevos estereotipos: la rebeldía de género y el alarde de excepcionalidad. Se concluye que estas películas no son un recurso óptimo para potenciar los valores de igualdad propios de una escuela coeducativa, a menos que los docentes junto al alumnado, realicen un análisis crítico con perspectiva de género durante su proyección en el aula.
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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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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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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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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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Nelson, Adie, and Veronica B. Nelson. "Reconceptualizing Dreamwork (With Apologies yo Lewis Carroll’s "Alice") as a Facet of Motherwork." Qualitative Sociology Review 6, no. 2 (August 30, 2010): 73–88. http://dx.doi.org/10.18778/1733-8077.6.2.03.

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While acknowledging some of the myriad ways in which the term "dreamwork" has been used by scholars over the past century, this article directs especial attention to dreamwork as both a facet of motherwork and form of anticipatory socialization. This particular conception views dreamwork as an interpersonal accomplishment and emphasizes its collaborative character. In arguing for its utility, we note how this conception of dreamwork complements insights found in other works and suggest how these ideas might be related, and future research on parental involvement in the lives of children strengthened, by gathering them together under the concept of dreamwork.
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Roshni, Raghunandanan, and Dr Tessy Anthony C. "Anthropomorphic Insights: A study the subaltern hero with reference to Spirit: Stallion of the Cimarron." SMART MOVES JOURNAL IJELLH 6, no. 10 (October 10, 2018): 1. http://dx.doi.org/10.24113/ijellh.v6i10.5108.

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Animal characters have fascinated viewers as well as readers in animated as well non-animated films and in fiction. This unfading interest in animal characters have inspired writers and film makers to use anthropomorphism as a tool for breathing life into flora and fauna. One could observe that films and fiction which are anthropomorphic in nature focus on relations between humans and animals as well as between weaker and stronger animals. A hegemonic relationship could be seen emerging among the characters thus making these perfect for post-colonial study. In post-colonialism the element of the ‘subaltern’ plays a major role. In all of these works the relationship between man and animals as well as stronger and weaker animals can be analysed through this aspect of ‘subalternity’ since the latter becomes the subaltern. While analysing a film or fiction of anthropomorphic nature as a subaltern text we cannot ignore Antonio Gramsci’s theory of the subaltern since he used this term for referring to all of those groups in society who were suppressed by the ruling class. DreamWorks Pictures’ Spirit: Stallion of the Cimarron narrates the story of an anthropomorphic wild stallion who saves his herd from being destroyed by the U.S Cavalry. Spirit witnesses two contradictory sides of humans in the form of the Colonel who commands the cavalry and a Lakota Native American, Little Creek, who has been kept in captivity at the cavalry. While the Colonel tries to suppress Spirit by breaking his inner ‘spirit’ and transforming him into a beast of burden Little Creek teaches him how to harness his unrestricted energy in order to discover his inner strength whereby which he breaks down the supremacy of the Colonel. Thus Spirit symbolises the subaltern hero who ends the oppressive reign of the Colonel and his cavalry upon his herd as well as the Lakota Native settlement.
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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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Bowater, Margaret. "Dreamwork." Ata: Journal of Psychotherapy Aotearoa New Zealand 18, no. 2 (December 31, 2014): 141–47. http://dx.doi.org/10.9791/ajpanz.2014.13.

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My passion for dreamwork arose from discovering the power of dreams as a multi-level spiritual process within me and others in 1985 when I joined a group of therapists meeting regularly to explore our dreams. For several years we laughed and cried together as we discovered new insights, challenges, affirmations, and healing. I was inspired by a “big dream” of my own about embarking on a journey of the soul. I studied to learn more about dreams and began leading workshops, seeing with awe how dreams opened windows into everyone’s inner experience, from post-trauma nightmares to perceptive feedback on personal issues to unforgettable mystical visions. I learned to ask simple questions of dreamers and I take continuing delight in seeing the “Aha” in the eyes of clients, students, and colleagues as they make connections and discover new perspectives. From the beginning of psychotherapy, dreamwork in one form or another has been of its essence. Waitara I pupū ake taku ngākaunui ki te whakarehu i te kitenga i te awe o te moemoeā pēnei ki tētahi paparanga hātepe wairua i roto i a au me ētahi atu, i te tau 1985, i tōku piringa ki tētahi rōpū kaihaumanu tūtakitaki ai ki te hōpara i ā mātou moemoeā. He maha ngā tau kata tahi, tangi tahi ai mātou ia wā kitea he tirohanga hou, he takinga, he whakakoihanga, he tumahuhanga. Whakahiringa ngākauhia ahau i tētahi pekerangi nui āku. Ka whakawhānuihia ake e au aku akoranga mō tēnei mea te moemoeā ka tīmata ki te taki awheawhe me te kite kaiora i te mahi a te moemoeā ki te whakatuwhera huarahi wheako whakaroto o te katoa, mai i ngā kuku i muri pāmamae ki ngā whakautu hōhonu whakapā ki ngā take whearo ki ngā kitenga māminga. I mōhio au kia noho mahuki ngā pātai, ā, e haere tonu ana te harikoa ki te kite i te taka o te māramatanga ki ngā kanohi o ngā kiritaki, ākonga me ngā hoamahi ia wā puta mai ngā hononga me ngā kitenga hou. Mai i te tīmatanga o te whakaoranga hinengaro, ko te whakarehu me ōna āhua tōna iho.
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Bowater, Margaret. "Dreamwork." Ata: Journal of Psychotherapy Aotearoa New Zealand 7, no. 1 (July 30, 2001): 23–33. http://dx.doi.org/10.9791/ajpanz.2001.03.

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Using two vivid examples of nightmares from a 13-year-old boy and a 38- year-old woman, a process of interpretation by which the dreamers gained significant insight and healing of major life-issues is demonstrated. In each case, it becomes dear that there is a holistic process at work in the dream, referred to as the inner spirit, seeking to highlight a conflict between different elements of the psyche; referred to as ego and shadow, and offering a potential resolution through re-integration. Thus, healing is shown to emerge from within the psyche by means of a dream.
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Lapteva, Darya, and Marina Afonina. "VARIANTS OF THE DEVELOPMENT OF THE DISTURBED TERRITORY OF THE NAGATINSKAYA FLOODPLAIN OF MOSCOW - HISTORY, COMPARISON, ANALYSIS." Биосферная совместимость: человек, регион, технологии, no. 2(26) (July 1, 2019): 74–84. http://dx.doi.org/10.21869/23-11-1518-2019-26-2-74-84.

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Modern development contributes to the need to transform inefficiently used spaces that have a promis-ing location in the structure of cities. For the implementation of ambitious projects, the territory of the Na-gatinskaya floodplain (about 100 hectares) in the Southern Administrative District of Moscow is considered. The favorable location is near the center with the center of the capital, on the territory of the artificial penin-sula, in close proximity to the natural territories of the south of the capital, which are in contact with a part of the former industrial zone of the I.A. Likhachev (ZIL). It took almost three decades to find solutions related to the arrangement of the territory. The long period of choice of options due to the scale of the proposals, subjective reasons and even a change in the status of the territory. In the implementation of ambitious projects using the Nagatinskaya floodplain took part: Hermann Tilke (project of the route for Formula 1, 2000), Normann Forster (the largest building in the world, 2007), Russian and international companies: Soyuzmultfilm, DreamWorks, GK "Regions" and many others. However, despite the attractiveness of the territory, its size and position in the city, interesting and necessary projects were not implemented. All the proposed options for arranging combine recreational and sports orientation, water use, environmental and social components. The information collected as a result of the work allowed us to obtain data for an objective assessment of the Dream Island project. The authors pro-posed to use the SWOT-analysis for structuring urban information and assessing the prospects of construc-tion. The weight of the main factors of the method was determined: Strength (strength) -27%, Weakness -10%, Opportunities (possibilities) -37%, Troubles (problem, ie possible threats) - 26%, which fully explains the difficulties with the implementation of this large-scale project of use of disturbed territory The revealed val-ues explain the relationship between the theoretical justification and the real situation.
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35

Arden, Margaret. "Dreamwork beyond psychoanalysis." International Forum of Psychoanalysis 4, no. 2 (April 1995): 91–95. http://dx.doi.org/10.1080/08037069508409527.

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36

White, Sarah. "Dreamwork as etymology." Dreaming 9, no. 1 (March 1999): 11–21. http://dx.doi.org/10.1023/a:1021312925825.

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37

Perry, Tekla. "Dreamworker." IEEE Spectrum 47, no. 2 (February 2010): 26–28. http://dx.doi.org/10.1109/mspec.2010.5397777.

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38

Bowater, Margaret. "The process of dreamwork." Ata: Journal of Psychotherapy Aotearoa New Zealand 4 (June 30, 1998): 69–77. http://dx.doi.org/10.9791/ajpanz.1998.06.

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Dreams can present the current central issues in a client's world, beautifully encapsulated in metaphor and story. If therapists are alert to their significance, and include them in the therapeutic process, new insights emerge and opportunities are presented for personal change. This article demonstrates a step-by-step process of working with a dream, using drawing, associations, simple action methods, redecision work and self-reflection, to facilitate personal growth in a dreamer.
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Olivetti, Katherine. "Jungian Dreamwork in Practice." Jung Journal 6, no. 2 (April 2012): 128–29. http://dx.doi.org/10.1525/jung.2012.6.2.128.

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Thomson, George. "Dreamwork in Redecision Therapy." Transactional Analysis Journal 17, no. 4 (October 1987): 169–77. http://dx.doi.org/10.1177/036215378701700407.

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Casson, John. "Dramatherapy, Psychodrama and Dreamwork." Dramatherapy 21, no. 1 (June 1999): 15–18. http://dx.doi.org/10.1080/02630672.1999.9689504.

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Hornyik, Sándor. "Deconstructing dreamworlds." Acta Historiae Artium 56, no. 1 (December 2015): 103–16. http://dx.doi.org/10.1556/170.2015.55.1.3.

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Hoss, Robert J., Lynne M. Hoss, and Dawson Church. "Integrating the Complementary Therapies of Energy Psychology and Dreamwork – the Dream to Freedom Method." OBM Integrative and Complementary Medicine 7, no. 3 (January 25, 2022): 1. http://dx.doi.org/10.21926/obm.icm.2203024.

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The purpose of this paper is to demonstrate that the integration of dreamwork and Energy Psychology (EP) can enhance outcomes in the treatment of a range of psychological disorders. The therapeutic process often begins with a peeling away of emotional layers until underlying issues surface. When utilizing dreamwork, however, it is possible to begin at a deeper level. Because dreams address salient unresolved emotional conflicts, dreamwork can quickly bring into consciousness previously unconscious emotional issues that are at the source of psychological difficulties. Utilizing techniques from energy psychology to process the material that emerges in dreams is a particularly potent way of engaging the emotional content of the dream and utilizing it to inform the dreamer’s self-understanding and direction. Energy Psychology, in its most frequently utilized format, the Emotional Freedom Techniques (EFT), combines imaginal exposure and cognitive restructuring with the somatic stimulation of acupuncture points by tapping on them. More than 100 clinical trials demonstrate the unusual speed and clinical efficacy of EFT. The authors of this paper have combined dreamwork and EFT into a therapeutic protocol we call the Dream to Freedom (DTF) method. In addition to providing theoretical underpinnings of the approach, we present details of the use of the DTF protocol with seven subjects. In each case, underlying stressful memories triggering psychological symptoms were revealed, and the stress reaction to those specific memories was minimized or eliminated. In all seven case reports, DTF appears to have provided a systematic protocol for enhancing the emotional problem-solving function of dreams, providing each subject with insight towards creating future action steps.
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Welch, Anthony. "Eve's Dreamwork in Paradise Lost." MLN 135, no. 5 (2020): 1124–38. http://dx.doi.org/10.1353/mln.2020.0079.

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Andrews, Jennifer, David J. Clark, and Joseph C. Zinker. "ACCESSING TRANSGENERATIONAL THEMES THROUGH DREAMWORK." Journal of Marital and Family Therapy 14, no. 1 (January 1988): 15–27. http://dx.doi.org/10.1111/j.1752-0606.1988.tb01646.x.

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Wright, Jeanne, Mary Ley, and Jeanne French. "Dreamwork: Therapeutic Relevance in Groups." TCA Journal 22, no. 2 (September 1994): 34–41. http://dx.doi.org/10.1080/15564223.1994.12034437.

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Riches, David, and Iain R. Edgar. "Dreamwork, Anthropology and the Caring Professions." Journal of the Royal Anthropological Institute 4, no. 3 (September 1998): 564. http://dx.doi.org/10.2307/3034173.

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Coven, Arnold B. "Gestalt Group Dreamwork Demonstrations in Taiwan." Journal for Specialists in Group Work 29, no. 2 (June 2004): 175–84. http://dx.doi.org/10.1080/01933920490439329.

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Britzolakis, Christina. "Dreamwork: Sylvia Plath's Cold War Modernism." Women: A Cultural Review 24, no. 4 (December 2013): 263–73. http://dx.doi.org/10.1080/09574042.2013.863521.

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Brems, Christiane. "Dreamwork in psychotherapy and self-change." Clinical Psychology Review 11, no. 3 (January 1991): 335–36. http://dx.doi.org/10.1016/0272-7358(91)90109-8.

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