Academic literature on the topic 'Pixar Animation'
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Journal articles on the topic "Pixar Animation"
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Gowanlock, Jordan. "Animating Management: Nonlinear Simulation and Management Theory at Pixar." Animation 15, no. 1 (March 2020): 61–76. http://dx.doi.org/10.1177/1746847719898783.
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Existing scholarship finds that early industrialized animation studios sought to emphasize the unpredictable liveliness of creativity at their studios, while also demonstrating their ability to control and manage production through industrial management techniques that promoted regulation and efficiency. This article examines how this dynamic between unpredictability and control has been negotiated by digital animation studios since the early 1980s, with a focus on the way Pixar Animation Studios represents its management theory through popular books, business journal articles, DVD extras, and behind-the-scenes promotional material. This article highlights how computational principles for creating and managing unpredictability via nonlinear simulation inform Pixar’s promoted management theory. The principles of simulated unpredictability ground many of Pixar’s key technological advances, especially for animating fluids and materials (water, smoke, fur, and cloth), but they also ground concepts within the field of management science such as industrial dynamics and organizational resilience. This epistemic frame leads Pixar to represent creativity as the unpredictable product of carefully controlled conditions and parameters and this collapse of technology, animation, and management helps to sculpt Pixar’s own corporate image as both an animation studio and technology company. The research in this article offers contributions to the study of both post-Fordism in animation industries and algorithmic control.
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Haswell, Helen. "To infinity and back again." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 24–40. http://dx.doi.org/10.33178/alpha.8.02.
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In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. La Luna (Enrico Casarosa) marks a pivotal shift in Pixar's short film canon by displaying hand-drawn artwork and man-made textures. Widely considered the innovators of computer-generated animation, Pixar is now experimenting with 2D animation techniques and with textures that oppose the clean and polished look of mainstream American animation. This article aims to outline the significant technological developments that have facilitated an organic aesthetic by suggesting that nostalgia dictates a preference for a more traditional look. It will also argue that this process pioneered by Pixar has in turn influenced the most recent short films of Walt Disney Animation Studios.
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Bezerra, Camila Paschoal. "Criatividade S.A." Organicom 16, no. 31 (December 20, 2019): 209–13. http://dx.doi.org/10.11606/issn.2238-2593.organicom.2019.159895.
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Este livro inventivo ilustra a fascinante narrativa contemplando detalhes sobre como a Pixar nasceu. Escrito por Ed Catmull, co fundador da Pixar Animation Studios e presidente da Pixar Animation e da Disney Animation, este livro permite aos leitores navegarem uma bonita jornada rumo à criatividade, comunicação e gestão.Esta narrativa única contém múltiplos exemplos sobre como a inovação pode ser gerenciada através de diversas metodologias e métricas.Certamente é uma excelente leitura que irá deliciar os entusiastas do entretenimento assim como especialistas em comunicação.
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de Leonardis, Maria Chiara. "La creativitŕ fra tecnologia e management: riflessioni sul caso Pixar." IKON, no. 53 (February 2009): 323–63. http://dx.doi.org/10.3280/ikr2006-053012.
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- A new digital language of extreme technological refinement, able to tell stories of great emotional impact, has been generated by computer animation. Pixar Animation Studios is a production company that in few years has given a considerable push to 3D animation: they use the new technologies giving always a great importance to story. Their huge success attracted more and more the attention of a world- wide colossus like the Disney, who proposed different deals for coproduction and distribution. After various events, on January 24th, 2006, the Mouse House acquired Pixar, with an operation of 7,4 billions dollars, and offered to Pixar leaders (Steve Jobs and John Lasseter) key roles in Disney company. This union can be defined a convenience wedding: in fact, Disney has incorporated a production company that during the last few years has obtained enormous hits at the box office; Pixar has guaranteed the association to one of the stronger brands and the biggest distribution forces in the world of entertainment. Pixar case history shows that the core element in the economy of the entertainment, what really makes the difference and brings to success, is the creative element: technology and management must be at its service.
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Brydon, Suzan G. "“I’ve Got to Succeed, So She Can Succeed, So We Can Succeed”: Empowered Mothering, Role Fluidity, and Competition in Incredible Parenting." Social Sciences 7, no. 11 (October 30, 2018): 215. http://dx.doi.org/10.3390/socsci7110215.
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The social influence of Disney discourse is difficult to ignore, as is their repetitive matricide and positioning of the patriarchal and heteronormative family model in their bloc.kbuster animated films. Yet, through its Pixar Animation Studios subsidiary, Disney has pushed progressively at the boundaries, not only in terms of animation artistry but also through the social topics explored. This study builds on previous research of male mothering in Finding Nemo by visiting the subsequent 11 Pixar animated films, with in-depth exploration of their most recent release, Incredibles 2. Ultimately, I argue that Pixar has once again opened space by embracing empowered and collaborative parenting.
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Yan Jing, Bei, and Dong Yeul Jang. "The Growth Narrative Analysis of Pixar Animation〈Coco〉." Cartoon and Animation Studies 68 (September 30, 2022): 227–54. http://dx.doi.org/10.7230/koscas.2022.68.227.
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King, Edward. "Pixar with Lacan: The Hysteric’s Guide to Animation, Lilian Munk Rösing (2016)." New Cinemas: Journal of Contemporary Film 17, no. 1 (March 1, 2020): 119–21. http://dx.doi.org/10.1386/ncin_00011_5.
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Wu, Bilang. "A Study about the Composition of current American Social Ideas Expressed by Pixar Animation: Centered on the Psychological Journey of the Characters in the Animation Soul." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 519–28. http://dx.doi.org/10.33645/cnc.2022.10.44.10.519.
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The phenomenon origin, process and resolution of the psychological contradiction of the character Joe in the Soul by Pixar was analyzed by Lacanian mirror theory in the study, to express the psychological contradiction of the group of black people who depend on a specific social class. (1) Based on Lacanian theory of the real world (Real), the primitive desires origin of the character Joe was analyzed.(2) Psychological contradictions of the group represented by Joe was studied in accordance with imaginary, which reflects the social malpractice. (3)Result of resolving the psychological contradiction of Joe in Symbolic was studied; Joe became an ideal subject in the 'Ideal American dream' as expressed by Pixar. Therefore, the value and significance of Soul in the portrayal character's psychological field obtained can regurgitation-feed the social reality issues.
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Haswell, Helen. "Book review: Pixar with Lacan: The Hysteric’s Guide to Animation." Animation 13, no. 1 (March 2018): 90–93. http://dx.doi.org/10.1177/1746847717752592.
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Jing, Kexin. "Analysis of Pixar Movie Marketing Strategy Based on 5T Theory: Take Turning Red as an Example." Advances in Economics, Management and Political Sciences 47, no. 1 (December 1, 2023): 64–70. http://dx.doi.org/10.54254/2754-1169/47/20230362.
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This study introduces the brand background of Pixar Animation Film Company and analyzes its marketing strategy using the 5T theory. This study chooses Turning Red as a case study, and through the analysis of its marketing strategy, some shortcomings are found. First, through the analysis of Tools, "Turning Red" failed to meet the audience in cinemas, which led to the disappointment of some fans. Although Pixar and Disney used multi-platform and multi-channel promotional tools, their marketing effect was reduced due to some limitations. Second, for Tracking, although Pixar registered separate social media accounts for each movie, there was relatively little in-depth analysis and response to user feedback. This makes it difficult for the company to fully understand the audience's needs and expectations. Based on these findings, this study makes some recommendations to improve Pixar's marketing strategy. This study makes recommendations to strengthen the multi-platform and multi-channel marketing approach and enhance user feedback analysis. These recommendations are expected to help Pixar further improve the marketing effectiveness of its films, increase audience engagement and satisfaction, and contribute to the company's continued growth.
Dissertations / Theses on the topic "Pixar Animation"
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McCulloch, Richard. "Towards infinity and beyond : branding, reputation, and the critical reception of Pixar Animation Studios." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/48149/.
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American author and journalist Jonah Lehrer declared in 2012 that Pixar Animation Studios was ‘the one exception’ to the oft-cited maxim that, in Hollywood, ‘nobody knows anything.’ Patrick Goldstein of the Los Angeles Times spoke in similar terms in 2008, writing that, ‘critics and audiences are in agreement on one key thing: Nobody makes better movies than Pixar.’ Thirteen consecutive global box office successes and scores of industry awards would seem to suggest that Lehrer and Goldstein are correct. Yet it is important to recognise that such statements invariably refer to something intangible, something beyond a particular Pixar film or selection of films. There exists, in other words, a widely held set of meanings and associations about what the studio represents, and to whom. This thesis argues that this set of meanings and associations – Pixar’s brand identity – is far from the fixed and unambiguous entity it is often seen to be. If the studio has come to be seen as guarantee of quality family entertainment, when did this notion become widespread? Have the parameters for ‘quality’ and ‘success’ remained constant throughout its history? I demonstrate for instance that Pixar benefited considerably from Disney’s wavering reputation from the late-1990s onwards. I approach branding as a discursive process, and one that brand producers sometimes have little control over, contrary to the implicit claims of most marketing literature. Broadly chronological in structure, the thesis traces the development of the studio’s reputation by drawing on Barbara Klinger’s approach to historical reception studies. Individual chapters focus on how Pixar was discussed by critics and journalists at specific moments or in specific contexts, as it evolved from a computer graphics company to become the most celebrated film studio of all time. Ultimately, this is a case study of the cultural work involved in the making of a brand or an auteur, and how these meanings can shift over time.
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Kramer, Heidi Tilney. "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4525.
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With background information on militarism, nationalism, and torture, this study analyzes Monsters, Inc., Toy Story 3, and The Incredibles, three Pixar films released from 2001 through 2010, for the ways in which the torture scenes are framed. These frames, state control, prisons, and 60s spy thrillers, invite laughter through intertextuality, while deflecting attention from torture of central characters in the films. The implications of this analysis are: these films present torture as deserved and normative; the tortured characters stand outside the frames of recognition for humanness; and they redefine children as threats and dangers. This study concludes that these ideologies are just as potent as the themes of nationalism, militarism, and a violated sacrosanct homeland.
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Silva, Clayton Antonio Santos da. "A complexa trama da pixar: cinema e condição humana." Pontifícia Universidade Católica de São Paulo, 2013. http://tede2.pucsp.br/handle/handle/2434.
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Previous issue date: 2013-10-29Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present doctoral thesis, entitled The Complex Plot of Pixar: Cinema and the Human Condition, aims to make reflections on the films produced by Pixar Animation Studios in the period between 1995 and 2011. In total, 12 films are analyzed: Toy Story, 1995; A Bug s Life, 1998; Toy Story 2, 1999; Monsters, Inc., 2001; Finding Nemo, 2003; The Incredibles, 2004; Cars, 2006; Ratatouille, 2007; Wall-E, 2008; Up, 2009; Toy Story 3, 2010 and Cars 2, 2011. The basis and methodological and theoretical orientation guide of the analyses and reflections is the Complex Thought, as formulated by Edgar Morin. The study aims to expand the understanding on these films, which began to be produced in large scale from 1995, introducing them as vehicles of narratives that help in building the imaginary of the contemporary man, taking into consideration the potential of onirism, duplication, projection-identification and mental trade that the cinema presents. The analyses and reflections contained in this thesis are based on thinkers from several fields of knowledge in a transdisciplinary perspective. After an introduction entitled Onirisms, the thesis unfolds in three analytical blocks: in Bravery, we discourse about the brave or heroic acts in Toy Story, A Bug s Life, The Incredibles and Cars. In Knowledge, we will discourse about the visions of knowledge, memory or technoscience of Toy Story 2, Monsters, Inc., Wall-E and Cars 2. In Paroxysms, we approach the existing apex moments in films such as Finding Nemo, Up, Toy Story 3 and Ratatouille. Finally, we present the final considerations and, as an annex, the production credits of the films studied herein
Esta tese de doutorado, intitulada A Complexa Trama da Pixar: Cinema e Condição Humana, procura fazer reflexões sobre os filmes produzidos pelo Pixar Animation Studios no período situado entre 1995 e 2011. Ao todo são analisados 12 filmes, a saber: Toy Story (Toy Story, 1995); Vida de Inseto (A Bug s Life, 1998); Toy Story 2 (Toy Story 2, 1999); Monstros S.A (Monsters, Inc., 2001); Procurando Nemo (Finding Nemo, 2003); Os Incríveis (The Incredibles, 2004); Carros (Cars, 2006); Ratatouille (Ratatouille, 2007); Wall-E (Wall-E, 2008); Up Altas Aventuras (Up, 2009); Toy Story 3 (Toy Story 3, 2010) e Carros 2 (Cars 2, 2011). As análises e as reflexões feitas têm como base e guia de orientação teórica e metodológica o Pensamento Complexo, tal qual como formulado por Edgar Morin. O objetivo do estudo é ampliar a compreensão sobre estes filmes, que começaram a ser produzidos em longa escala a partir de 1995, apresentando-os como veículos de narrativas que ajudam a construir o imaginário do homem contemporâneo, levando-se em consideração o potencial de onirismo, duplicação, projeção-identificação e comércio mental que o cinema possui. As análises e reflexões contidas nesta tese são feitas com base em pensadores de diversos campos do conhecimento, em uma perspectiva transdisciplinar. Após uma introdução intitulada Onirismos, a tese se desdobra em três blocos analíticos: em Bravuras, discorremos sobre os atos bravos ou heroicos de Toy Story, Vida de Inseto, Os Incríveis e Carros. Em Saberes, dissertaremos sobre visões do conhecimento, memória ou da tecnociência de Toy Story 2, Monstros S.A., Wall-E e Carros 2. Já em Paroxismos abordamos os momentos de ápice existentes em filmes como Procurando Nemo, Up Altas Aventuras, Toy Story 3 e Ratatouille. Por fim, são apresentadas considerações finais e, como anexo, ficha técnica dos filmes aqui estudados
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DE, LEONARDIS MARIA CHIARA. "FRA CREATIVITA' E INDUSTRIA: STRUTTURE NARRATIVE E COINVOLGIMENTO DELLO SPETTATORE NEI FILM PRODOTTI DA PIXAR ANIMATION STUDIOS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/253.
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Fra tutti i sistemi possibili per creare cinema, cioè per generare e riprodurre immagini percepite in movimento dall'occhio umano che le osserva, ve n'è uno che più di ogni altro ha offerto terreno alle avanguardie sperimentali, alla ricerca tecnologica e all'indagine estetica: si tratta del cinema d'animazione che crea il suo movimento ex nihilo. L'utilizzo della computer animation con le sue molteplici applicazioni ha fatto nascere un vero e proprio linguaggio digitale di estrema ricercatezza tecnologica, capace di raccontare storie dal grande impatto emotivo. In questo scenario la Pixar Animation Studios si colloca come una casa di produzione cinematografica, che, in pochi anni, ha saputo dare una spinta considerevole al cinema d'animazione in 3D, accogliendo con successo la sfida lanciata dalle nuove tecnologie, sempre considerate a servizio della storia e attirando l'attenzione di un colosso mondiale come la Disney. Nel solco tracciato da Disney, i creatori di casa Pixar, si mostrano attenti a mettere la tecnologia a servizio di storie che oltre a risultare divertenti e in grado di intrattenere grandi e piccini con meccanismi comici elementari e con raffinate citazioni cinematografiche, sono capaci di ribadire con efficacia verità semplici e profonde in sintonia con i valori autentici dell'essere umano.There are a lot of systems to create cinema, to generate and reproduce images perceived in motion from the human eye, but there is one that more than every other offer something new to the experimental vanguards, to the technological and aesthetic research: the animation, the cinema that creates its movement ex nihilo. A digital language of extreme technological refinement, able to tell stories of great emotional impact, is borne from the use of computer animation with its multiple applications. In this situation, the Pixar Animation Studios is placed like a house of cinematographic production, that, in few years, has given a considerable pushed to 3D animation, using the new technologies, always considered story driven and attracting the attention of a world-wide colossus like the Disney. Behind the Disney tradition, the creators of Pixar are alert to put the technology in history service. The history results amusing and able to entertain adults and children with elementary comic mechanisms and with refined cinematographic citations. The Pixar histories are able to confirm in a simple and deep way the truth that is in agreement with the authentic values of the human being.
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DE, LEONARDIS MARIA CHIARA. "FRA CREATIVITA' E INDUSTRIA: STRUTTURE NARRATIVE E COINVOLGIMENTO DELLO SPETTATORE NEI FILM PRODOTTI DA PIXAR ANIMATION STUDIOS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/253.
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Fra tutti i sistemi possibili per creare cinema, cioè per generare e riprodurre immagini percepite in movimento dall'occhio umano che le osserva, ve n'è uno che più di ogni altro ha offerto terreno alle avanguardie sperimentali, alla ricerca tecnologica e all'indagine estetica: si tratta del cinema d'animazione che crea il suo movimento ex nihilo. L'utilizzo della computer animation con le sue molteplici applicazioni ha fatto nascere un vero e proprio linguaggio digitale di estrema ricercatezza tecnologica, capace di raccontare storie dal grande impatto emotivo. In questo scenario la Pixar Animation Studios si colloca come una casa di produzione cinematografica, che, in pochi anni, ha saputo dare una spinta considerevole al cinema d'animazione in 3D, accogliendo con successo la sfida lanciata dalle nuove tecnologie, sempre considerate a servizio della storia e attirando l'attenzione di un colosso mondiale come la Disney. Nel solco tracciato da Disney, i creatori di casa Pixar, si mostrano attenti a mettere la tecnologia a servizio di storie che oltre a risultare divertenti e in grado di intrattenere grandi e piccini con meccanismi comici elementari e con raffinate citazioni cinematografiche, sono capaci di ribadire con efficacia verità semplici e profonde in sintonia con i valori autentici dell'essere umano.There are a lot of systems to create cinema, to generate and reproduce images perceived in motion from the human eye, but there is one that more than every other offer something new to the experimental vanguards, to the technological and aesthetic research: the animation, the cinema that creates its movement ex nihilo. A digital language of extreme technological refinement, able to tell stories of great emotional impact, is borne from the use of computer animation with its multiple applications. In this situation, the Pixar Animation Studios is placed like a house of cinematographic production, that, in few years, has given a considerable pushed to 3D animation, using the new technologies, always considered story driven and attracting the attention of a world-wide colossus like the Disney. Behind the Disney tradition, the creators of Pixar are alert to put the technology in history service. The history results amusing and able to entertain adults and children with elementary comic mechanisms and with refined cinematographic citations. The Pixar histories are able to confirm in a simple and deep way the truth that is in agreement with the authentic values of the human being.
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Merijeau, Lucie. "Le cinéma d'animation et son image. Étude des pratiques industrielles et spectatorielles du cinéma d'animation américain contemporain. Le cas prototype de Pixar (1995-2010)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030137.
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Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du système de production et des techniques, qui sont en lien avec les évolutions stylistiques, pour comprendre dans quel système émergent puis s’établissent les films d’animation Pixar. Alors que la manière dont les films sont faits et dont ils sont vus a changé à la fin du XXe siècle, la trilogie Toy Story sera l’objet privilégié d’une étude des mutations du cinéma, et des usages qui en sont faits. Par le statut culturel élevé spécifique à Pixar, par l’ambiguïté textuelle qui les caractérisent et qui sont l’occasion d’interprétation très variées, ou grâce aux nouveaux modèles de féminité et de masculinité qu’ils proposent, les films d’animation tendent à devenir des films "comme les autres", laissant aux spectateurs la possibilité de les appréhender comme ils le veulentAs the first studio to have created a CGI animated feature film, Toy Story, whose success initiated a new era in animation production, Pixar Animation Studios occupy a significant position in the actual cultural landscape, and present a great opportunity to study the ways in which objects from cultural industries are produced and consumed. By examining the animated cartoon, from historic and aesthetic perspectives, I intend to determine the evolution of the production system and of the technics, which are related to stylistic changes as well. This study will help us understand the studio system in which Pixar’s movies have taken place. While the ways films are made and seen changed at the end of the last century, Toy Story’s films are the privileged object for an analysis of the transformations of cinema and its uses. By Pixar’s high cultural status, by the textual ambiguity that characterized them or the new representations of masculinity and femininity that they share, animated feature films tend to become "ordinary films", letting viewers grasp them as they want
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Duran, Castells Jaume. "Narrativa audiovisual i cinema d'animació per ordinador." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/1270.
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DE LA TESI:Aquesta tesi doctoral estudia les relacions entre la narrativa audiovisual i el cinema d'animació per ordinador i fa una anàlisi al respecte dels llargmetratges de Pixar Animation Studios compresos entre 1995 i 2006.
This doctoral thesis studies the relations between the audio-visual narrative and the computer animation and makes an analysis of the full-lenght films of Pixar Animation Studios since 1995 to 2006.
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Akers, Chelsie Lynn. "The Rise of Humor: Hollywood Increases Adult Centered Humor in Animated Children's Films." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3724.
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Children's animated films have held a lasting influence on their audiences since the rise of their popularity in the 1980s. As adults co-view such films with their children Hollywood has had to rewrite the formula for a successful animated children's film. This thesis argues that a main factor in audience expansion is adult humor. The results show that children's animated films from 2002-2013 are riddled with many instances of adult humor while earlier films from 1982-1993 use adult humor sparingly. It is clear that over the years the number of adult humor occurrences has consistently increased. Furthermore, this research shows that adult male roles consistently deliver the adult humor.
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Montoya, Rubio Alba. "Les pel·lícules musicals d’animació dels estudis Walt Disney: anàlisi de l’aparició i evolució dels elements recurrents a les cançons (1937-2010)." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/481959.
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Aquesta tesi estudia la música a les pel·lícules de Disney, concretament la configuració de les seves cançons, si hi ha uns patrons formals en la seva creació i disposició en un llargmetratge animat. A partir d’aquesta anàlisi, es pretén esbrinar si existeix el que sovint es denomina “la fórmula” Disney, segons la qual en aquestes pel·lícules sempre hi ha d’haver un determinat tipus de cançó amb uns trets molt definits. Per resoldre aquesta qüestió s’han analitzat un total de 34 pel·lícules, fent un especial èmfasi en els moments musicals i tots els elements que hi interactuen: la lletra, la imatge i la música. D'aquesta anàlisi i de la comparació d'aquestes pel·lícules ha estat possible deduir com han estat dissenyades, si existeixen uns patrons formals en la configuració dels números musicals i si tot això dona lloc a un estil únic i diferenciable a nivell artístic, a més de permetre revisar la definició del musical com a gènere cinematogràfic.La presente tesis estudia la música en las películas de Disney, concretamente la configuración de sus canciones, si hay unos patrones formales en su creación y disposición en un largometraje animado. A partir de este análisis, se pretende averiguar si existe lo que a menudo de llama “la fórmula” Disney, según la cual en dichas películas siempre debe haber un determinado tipo de canción con unas características muy definidas. Para resolver esta cuestión se han analizado un total de 34 películas, haciendo un especial énfasis en los momentos musicales y todos los elementos que interactúan: la letra, la imagen y la música. De este análisis y de la comparación de las películas ha sido posible deducir cómo han sido diseñadas, si existen unos patrones formales en la configuración de los números musicales y si esto da lugar a un estilo único y diferenciable a nivel artístico, además de permitir revisar la definición del musical como género cinematográfico.
Abstract: The aim of this thesis is to analyze Disney movies from a scientific perspective and appraise its contribution in the audiovisual language field. It is also the goal of this dissertation to propose a new analysis methodology that includes three disciplines: music, literature and visual arts. From the analysis and comparison of these films it will be possible to gather how they have been created, if there is a formula in the setting of musical numbers and if all this results in a artistic style unique and distinguishable. Lastly, all this may allow reformulating the definition of musical as a cinematographic genre.
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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.Betyg VG (skala IG-VG)
Books on the topic "Pixar Animation"
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California, Oakland Museum of, ed. Pixar: 25 years of animation. San Francisco: Chronicle Books, 2010.
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Rösing, Lilian Munk. Pixar with Lacan: The hysteric's guide to animation. New York: Bloomsbury Academic, 2015.
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Italy) Padiglione d'arte contemporanea (Milan. Pixar: 25 anni di animazione. [Milan, Italy]: 24 ore cultura, 2011.
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Steven, Higgins, Magliozzi Ronald S. 1949-, Museum of Modern Art (New York, N.Y.), and Pixar (Firm), eds. Pixar at the Museum of Modern Art. San Francisco: Chronicle Books, 2005.
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Pixar: 25 years of animation : Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, 6. Juli 2012 bis 6. Januar 2013. Bonn: Bundeskunsthalle, 2012.
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Pixar: The Company and Its Founders. Edina, Minnesota: ABDO Publishing Company, 2011.
Find full textBook chapters on the topic "Pixar Animation"
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Gowanlock, Jordan. "Animating Management." In Palgrave Animation, 119–43. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_5.
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AbstractThis chapter studies how the management theory of digital animation studios like Pixar Animation has been influenced by the paradigms that premise their unpredictable algorithmic animations. This epistemic frame leads Pixar to represent creativity as the unpredictable product of carefully controlled conditions and parameters. This collapse of technology, animation, and management science helps to sculpt Pixar’s own corporate image as both an animation studio and a technology company. These findings nuance existing accounts of post-Fordist labor in creative industries.
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Holliday, Christopher. "‘Movin’ to a Different Beat’: Commercial Pixar and the Simulated Ordinary." In Palgrave Animation, 283–98. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-27939-4_15.
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Brereton, Pat. "Smart Green/Nature Animation: Case Studies of Pixar – Wall-E, UP and Toy Story." In Smart Cinema, DVD Add-Ons and New Audience Pleasures, 141–58. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137027085_8.
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"Foreword by John Lasseter, Pixar." In Timing for Animation, ix—x. Elsevier, 2009. http://dx.doi.org/10.1016/b978-0-240-52160-2.00002-9.
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Lescher, Mary E. "Postscript." In The Disney Animation Renaissance, 175–80. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0007.
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The postscript gives some details of what happened with Walt Disney Feature Animation after the close of the Florida studio, including the acquisition of Pixar in 2006. Also, the animation industry in general is showing signs of hand-drawn animation returning to prominence, although artists are now drawing directly into the computer (via tools like the Cintiq) rather than on cels.
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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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Liu, Zheng, and Lei Ma. "Creativity in the Animation Industry." In Disruptive Technology, 1429–52. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-5225-9273-0.ch069.
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In the past 20 years, animation industry has developed rapidly due to the popularity of technology and a market demand on creativity. Large firms such as Disney and Pixar are continuously seeking strategies to expand, improve, and innovate, whereas most Chinese companies, as late comers are upgrading their capability through original design, technology development and policy support. This chapter focuses on the creativity in the animation industry, with an analysis on brand/character development, technology innovation, and policy influence. It starts with an introduction of the creativity in animation industry from both practice and literature perspectives. Then, there are five cases studies into companies with a highlight on their details of creative activities. Discussion is to address the critical issues of creativity in the animation industry, followed by a conclusion and recommendations for future research areas.
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Liu, Zheng, and Lei Ma. "Creativity in the Animation Industry." In Advances in Media, Entertainment, and the Arts, 216–39. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0504-4.ch011.
Full textAbstract:
In the past 20 years, animation industry has developed rapidly due to the popularity of technology and a market demand on creativity. Large firms such as Disney and Pixar are continuously seeking strategies to expand, improve, and innovate, whereas most Chinese companies, as late comers are upgrading their capability through original design, technology development and policy support. This chapter focuses on the creativity in the animation industry, with an analysis on brand/character development, technology innovation, and policy influence. It starts with an introduction of the creativity in animation industry from both practice and literature perspectives. Then, there are five cases studies into companies with a highlight on their details of creative activities. Discussion is to address the critical issues of creativity in the animation industry, followed by a conclusion and recommendations for future research areas.
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Benhamou, Eve. "Animating the Digital Action-adventure Spectacle." In Contemporary Disney Animation, 125–49. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474476126.003.0006.
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During the 2008–18 decade, Disney not only notably revised the studio’s formula of fairy-tale romance but also ventured into and re-envisioned action-adventure cinema. This chapter specifically illuminates how the studio reframed the digital action-adventure spectacle, expanding the generic scope of its constructed formula in the process. Relying on Bolt, Wreck-It Ralph, Big Hero 6 and Moana as case studies, this chapter focuses on the three most distinctive layers of this reworking. At the surface level, these films remarkably and humorously reproduce the dazzling visuals of live-action action-adventure through computer animation, as pioneered and influenced by Pixar. At a second level, the chapter explores how these films self-reflexively interact with the techniques of both computer animation and pre-digital animation to re-envision the action spectacle as an illusionistic mise en scène. At a third level, this chapter examines how Disney animated features expand the generic borders of action-adventure by drawing on the studio’s musical roots. In the process, they reimagine and take further the relationship between the two spectacular genres, as epitomised in their explicit merging in Moana.
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Haswell, Helen. "Fix it Felix! RevivingWalt Disney Animation Using the Pixar Formula." In Discussing Disney, 91–114. John Libbey Publishing, 2019. http://dx.doi.org/10.2307/j.ctvqc6k2q.9.
Full textConference papers on the topic "Pixar Animation"
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Weber, Karon, and Kitt Hirasaki. "Interaction design at Pixar Animation Studios." In CHI '00 extended abstracts. New York, New York, USA: ACM Press, 2000. http://dx.doi.org/10.1145/633292.633413.
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Castells, Jaume Duran, and David Fonseca Escudero. "Disabled personages in the full-length films of Pixar animation studios (1995-2006)." In the 1st ACM SIGMM international workshop. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1631097.1631102.
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Kaczmarek, Daniel, Aaron Bartholomew, Felipe Gutierrez, Hammad Mazhar, and Dan Negrut. "Chrono::Render: A Graphical Visualization Pipeline for Multibody Dynamics Simulations." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34545.
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This paper describes a web-enabled tool capable of generating high quality videos and images from multibody dynamics simulation results. This tool, called Chrono::Render, uses the Blender modeling software as the front end with Pixars RenderMan used to create high quality images. Blender is a free and open source tool used to create and visualize 3D content and provides a robust plugin framework which Chrono::Render leverages. To produce the final image, the Blender front end passes data to a RenderMan compliant rendering engine. Along with Pixars PhotoRealistic RenderMan (PRMan), several open source options such as Aqsis, JrMan, or Pixie can be used. Preprocessing is performed on the client side, where the front end generates a work order for the RenderMan compliant rendering engine to process. This work order, which contains several scripts that define the visualization parameters, along with the pre-processed simulation data and other user-defined geometry assets is uploaded to a remote server hosted by the Simulation Based Engineering Lab. This server contains more than a thousand CPU cores used for high performance computing applications, which can be used to render many frames of an animation in parallel. Chrono::Render is free and open source software released under a BSD3 license.