Academic literature on the topic 'Pixar animation studios'
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Journal articles on the topic "Pixar animation studios"
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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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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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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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Azizah, Siti Nur, and Choeriah Pramadanti. "Karakter Tokoh Utama Film Animasi “Turning Red” Karya Domee Shi." Literature Research Journal 1, no. 1 (August 6, 2023): 104–13. http://dx.doi.org/10.51817/lrj.v1i1.394.
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The purpose of this research is to describe the main character in the animated film "Turning Red" which will be released by Pixar Animation Studios and Walt Disney Pictures in 2022. This research is descriptive qualitative research. The data in this study is in the form of dialogue with the main character based on a literary psychology approach. Data collection is done by documentation techniques. Triangulation of sources, techniques, and theory is very important to ensure the validity of this research. The results showed: 1) Mei Lee showed all three personality structures, with 7 data of Id, 4 data of Ego, and 1 data of Superego, 2) The Id aspect dominates Mei Lee in living her life to take every action and decide something.Tujuan penelitian ini adalah untuk mendeskripsikan karakter utama dalam film animasi “Turning Red” yang dirilis oleh Pixar Animation Studios dan Walt Disney Pictures pada tahun 2022. Penelitian ini merupakan penelitian kualitatif deskriptif. Adapun data dalam penelitian ini berupa dialog pada tokoh utama berdasarkan pendekatan psikologi sastra. Pengumpulan data dilakukan dengan teknik dokumentasi. Triangulasi sumber, teknik, dan teori sangat penting untuk memastikan validitas penelitian ini. Hasil penelitian menunjukkan: 1) Mei Lee menunjukkan ketiga struktur kepribadian, dengan Id sebanyak 7 data, Ego sebanyak 4 data, dan Superego sebanyak 1 data, 2) Aspek Id mendominasi Mei Lee dalam menjalani kehidupannya untuk melakukan setiap tindakan dan memutuskan sesuatu.
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Jiang, Weiyi. "Analyzing the Future of Pixar Based on the Current Status." Advances in Economics, Management and Political Sciences 102, no. 1 (July 25, 2024): 159–64. http://dx.doi.org/10.54254/2754-1169/102/2024ed0061.
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Pixar Animation Studios is currently facing a challenging situation due to the intense competition in the animated film market. As a result, the study's purpose is to investigate how Pixar should develop in the future to get out of this predicament. To solve the research question, this article will discuss Pixar's achievements in animated films as a case study. The first reason for the problem is technological innovation. The suggestion is to develop the use of artificial intelligence (AI) and virtual reality (VR) in animated film production and formats. The second reason for the problem is connected innovation; the suggestion is insisting on original IP and extending the industry chain. The third reason for the problem is not proactively catering to market needs; the suggestion is meeting diversified needs and strengthening international outreach cooperation. The value of this paper is to provide some reference suggestions for the development of animated films and fill the research gap in the future development of Pixar.
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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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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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Cuenca Orellana, Nerea. "Los arquetipos narrativos tradicionales en las películas destinadas al público infantil: Pixar Animation Studios (1995-2015)." Revista de la Asociación Española de Investigación de la Comunicación 6, no. 12 (November 2019): 81–94. http://dx.doi.org/10.24137/raeic.6.12.10.
Full textDissertations / Theses on the topic "Pixar animation studios"
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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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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.
Full textAbstract:
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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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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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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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.Betyg VG (skala IG-VG)
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Cheng, Chu-Yun, and 鄭筑云. "The Influence of Short Animated on University Students’ Critical Thinking – Taking the three Short Animated Films of Pixar Animation Studio as Examples." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/w8pwsu.
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碩士國立彰化師範大學
資訊管理學系數位內容科技與管理碩士班
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The purpose of this study is to access the effectiveness of the university students’ critical thinking and disposition after experimental watching of the Pixar short animated. Check short animated effectiveness of the university students’ critical thinking disposition and critical thinking skill. A quasi-experimental method was conducted with 6 classes of freshman to junior in CTUST and NCUE. One class was assigned as an experimental group (1A, 2A, 3A) with 109 students; the second class was controlled group (1B, 2B, 3B) whit 111 students, total is 220 students. In this study, using Pixar short animated of
Books on the topic "Pixar animation studios"
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Amidi, Amid. The art of Pixar: The complete color scripts and select art from 25 years of animation. San Francisco: Chronicle Books, 2011.
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Amidi, Amid. The art of Pixar: The complete color scripts and select art from 25 years of animation. San Francisco: Chronicle Books, 2011.
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Booker, M. Keith. Disney, Pixar, and the hidden messages of children's films. Santa Barbara, Calif: Praeger, 2010.
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Booker, M. Keith. Disney, Pixar, and the hidden messages of children's films. Santa Barbara, Calif: Praeger, 2009.
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Paik, Karen, John Lasseter, and Ed Catmull. To Infinity and Beyond!: The Story of Pixar Animation Studios. Chronicle Books LLC, 2015.
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(Foreword), Ed Catmull, Steve Jobs (Foreword), John Lasseter (Foreword), and Leslie Iwerks (Collaborator), eds. To Infinity and Beyond!: The Story of Pixar Animation Studios. Chronicle Books, 2007.
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Iwerks, Leslie, Paik Iwerks, and Karen M. Paik. To Infinity and Beyond!: The Story of Pixar Animation Studios. Penguin Random House, 2007.
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Neupert, Richard. John Lasseter and the Rise of Pixar Style. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040153.003.0001.
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This chapter chronicles the rise of John Lasseter's career and the groundbreaking animated films he directed, revealing ways he and his colleagues at Pixar changed the direction of commercial animation forever. Lasseter is the much-celebrated chief creative officer for Pixar Animation Studios, Walt Disney Animation Studios, and Disneytoon Studios. He is also one of the best known and most successful animators in the world. He has contributed to the revival of character animation and helped propel a return to feature-length animation in Hollywood and beyond. Moreover, Lasseter may have done more to foster thinking, embodied computer-generated characters than anyone else. The chapter details the creation of films such as Toy Story (1995), A Bug's Life (1998), and Cars (2006).
Book chapters on the topic "Pixar animation studios"
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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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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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SULLIVAN, K. "Making the Animated Short: An Interview with Andrew Jimenez, Pixar Animation Studios." In Ideas for the Animated Short with DVD, 64–67. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80860-4.50010-7.
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"4. Going Home . . . for the First Time: Pixar Studios, Digital Animation, and the Limits of Reflective Nostalgia." In Flickers of Film, 89–113. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813576046-007.
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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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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 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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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.
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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.
Conference papers on the topic "Pixar animation studios"
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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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