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Books on the topic 'Pixar animation studios'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

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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2

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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3

Booker, M. Keith. Disney, Pixar, and the hidden messages of children's films. Santa Barbara, Calif: Praeger, 2010.

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4

Booker, M. Keith. Disney, Pixar, and the hidden messages of children's films. Santa Barbara, Calif: Praeger, 2009.

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5

Mommy Sayang: Pixar Animation Studios Artist Showcase. Disney Press, 2019.

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6

Henri's Hats: Pixar Animation Studios Artist Showcase. Disney Press, 2018.

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7

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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8

(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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9

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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10

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).

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11

Amidi, Amid. Art of Pixar : 25th Anniversary: The Complete Color Scripts and Select Art from 25 Years of Animation. Chronicle Books LLC, 2015.

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12

Saxon, Victoria. Poster Art of Cars: Collecting more than a hundred posters and graphics from Pixar Animation Studios and Walt Disney Imagineering. Disney Editions, 2017.

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13

The wisdom of Pixar: An animated look at virtue. Downers Grove, Ill: IVP Books, 2010.

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14

The Good Dinosaur - Arlo's World: Disney Pixar Collector Cards! Over 30 Stickers. New York, USA: Random HouseChildren's Books, a div. of Penguin Random House L.L.C., 2016.

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15

Films of Pixar Animation Studio. Oldcastle Books, Limited, 2013.

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16

The Films Of Pixar Animation Studio. Kamera Books, 2013.

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17

Ramalho, Felipe de Castro. A representação do diverso no cinema de animação. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-217-9.

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This book is the result of a doctoral research that sought to analyze the characters of the industrial animation cinema that present characterizations, mannerism, behavior and sexual stereotypes, which create an unknown idea about their sexualities. Animated films, often considered an exclusive product for children, do not directly address sexualities that differ from heteronormativity. For this reason, we call “diverse” those possible characters that are different from the norms of standard heterosexuality, in order to map, analyze, quantify and qualify the purpose of these representations. In the first moment, the concepts of the theoretical Stuart Hall on representational practices capable of producing ideologies, discourses and signs are applied in animation cinema and associated with anthropomorphism, which we believe to be a camouflaged way of representing such characters. Then, we characterize the “diverse” and the reasons for choosing the term, so that we can propose a debate about cinema as an instance capable of inscribing gender norms and how animation cinema acts as a media capable of proposing a cultural specific pedagogy. Then, based on the principle of similarity and difference, we mapped the “diverse” characters present in the history of animation cinema at the main North American studios: Disney, Pixar and DreamWorks. After this process, we analyze and qualify the intention of the representations of the “diverse” in the characters of animated films. Therefore, do not be alarmed when faced with classic characters such as Ursula, Genius, Scar, Timon, Pumbaa, Edna Mode, King Julien and many others who present different facets of sexuality.

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18

Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability. McFarland & Company, 2013.

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19

Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability. McFarland & Company, Incorporated Publishers, 2013.

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