Dissertations / Theses on the topic 'Pixar Animation'

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.

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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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

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.

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.

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 veulent
As 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

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.

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.

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.

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)

碩士
國立臺中教育大學
語文教育學系碩博士班
103
Pixar Animation Studios plays an influential role in American animation business due to two of its features, “technology advantages “and “originality”. The Pixar stories, as famous and worldwide animations, include cultural message. Additionally, the stories depict the similar life experiences that the readers share together, which makes animation more than a peaceful and happy story. What’s more, it contains reality and even the cruel issue of our lives. Through this research, we can see how the leading characters interact with each other and suffer from the trials of life. Therefore, we find every individual difference among us is significant to other people, and it shows the background of racial harmony in American culture. There are five chapters in the research. The first chapter is introduction; to organize and analyze those Pixar Animation stories in the history, it illustrates the motive, purpose, the selected texts, method of the research and the meaning of the subjects. This chapter analyzes former researches separately digging in four aspects - characteristics in film production, marketing communication, visual design, and content narration in Pixar Animation. Among the above, researches about content narration is less than the other three aspects. Therefore, in order to see how the power of the characters change, content narration is used to analyze the text in this research as the process of how the subject is constructed by differing the main characters and other characters in Pixar Animation. The second chapter,“The Construction of Subjects with Different Genders– take Brave for instance”, discusses about how leading actress affects the peace of the clan in Brave.The queen in Brave assigned Merida to a marriage which stands for patriarchy. However, Merida fought for freedom and love through words and actions. After reconciling with her mother, Merida started to take the responsibility of keeping the peace among the clans. She successfully changed the patriarchal marriage system by solving the conflicts among the clans with love. The f third chapter, “The Construction of Subjects in Different Classes – takes A Bug’s Life for instance”, depicts the way the leading character, Flik, changed the colonial relationship between the ants’ kingdom and the grasshoppers’ group. Flik used his wisdom and invention to draw outer resources into the kingdom. He saved the ant queen successfully, which got him out of the lowest status in the kingdom. The subject shows a distinguishing individual value among all the ants. The fourth chapter, ““The Construction of Subjects in Different Groups – take The Incredibles for example”, depicts how the leading character, Mr. Incredible, differs from traditional super heroes. He held the responsibility of taking care of his own family. Under the stress from the society, Mr. Incredible struggled between two roles at the same time – a super hero and an ordinary man. By way of using his super power to rescue the people with his family, Mr. Incredible finally regained his reputation. The fifth chapter is conclusion. It concludes the distinguishing way of narrating how the construction of subjects processes in Pixar Animation, and it finds out that the texts depict various issues and put emphasis on how individuals affect our society. Last, this research also provides the potential aspects of future researches.

碩士
國立高雄師範大學
視覺設計學系
100
The story originals in Pixar animation have manifested the dramatic effects by means of the characters’ representations as well as the visual elements’. The villains and their projections, on the other hand, catalyze audience’s empathy, which further break conventionally-regulated fantasies. This research aims at the understanding of the correlation between Pixarian narratives’ features and the personality and character designs of the villains’, with the help of textual analysis, semiology, film-narratology, and theories of personality. It also analyzes the filming mise-en-scene and the visual representations which define villain characters. The following are my findings. Pixar animation does not intentionally manifest the villains’ evil appearances; it elaborates the villains’ humanized state of mind and their transition of personality, for conveying the repressed, constrained characters’ deviated behaviors and hideous status. Contrasts which magnify the discrepancy between the noble and the evil are applied to the latter’s visual representation, intensifying and dramatizing the elaboration of the story. Properties remind the audience of the villains’ revelation of the evil or its incarnation. The differences within costume coloration and accessories frame the villains’ characteristic and affective transformation, while the villains’ conflict stance and the relation of scenic ambiances are significantly sharpened by the deployment of visual settings. Pixar exercises both different materials and forms of expression to criticize and reflect upon the social status quo—which in return enables Pixar to establish a pattern of success in commercial animation.

碩士
國立雲林科技大學
設計運算研究所碩士班
100
Entertainment arts is currently the mainstream of popular culture in the world, it has good performance of entertaining animated film, thus it becomes popular with wide range of consumer groups and has a huge market opportunity. What animation industry creates is commercial animation, and it must remain an operation mode which can continue to earn profits, however, a good story is the key to successful animation, which brings huge economic benefits, and Pixar performs quite successfully in this way . The animated movies he produced not only have a high level computer technology, but also have became the best samples of the global films in the creative combination of story design and art design. Story design is the important key in animation pre-production process, the purpose of this study is to investigate time development principles in the design of the stories of Pixar animated films. First, explored the theory of the story and related concepts from the film literature, drama theory, and then chose the well-known Pixar animated film as research object to use dramatic structure and hero’s journey theory for the research base, and investigate the relation among the story’s development content, key structure and point in time through the analysis of this article with SPSS, next, gather statistics on sameness and difference point of time difference and further summarize the proper structure and time allocation mode for story design. The results show that Pixar animated films correspond to the linear narrative development mode of the seven key points of story development summarized by the institute for story design, as for the point in time of story development, after statistically analyzing, it was found in the second key point: Unexpected Event. In addition to significant flexibility for time arrangement, the other stages have a certain regular pattern. The institute proposed a formula of story development process and time arrangement for commercial animated films to assist Academia with guide of story idea and provide the pre-story design prior to animated film development for industry’s reference in the future.

碩士
國立臺灣科技大學
設計研究所
95
The character design in a movie plays a crucial part in helping the audience to understand the temperament of a character. The distinctive temperaments of a villain character are conflict and contrast to that of a hero’s and it brings tensions to the movie plot. Therefore, this research is based on the literature and current analysis to acquire a better understanding of the presentation of villain character and the character design in PIXAR movie animation, and accompanied with an experiment method in finding out how “partial forms” and “angle correlations” of the five facial features of the character impact the perception of the audience in regard to the villain character. According to the current analysis: the characteristics of the face features of evil form are using long skinny shapes and the form of triangular as the main design element for villain character in PIXAR movie animation .And in presenting the face features of villain character, the eyes are designed in long skinny shape as the main focus, with the slightly upward angle of the eyebrows, it gives life to the villain character. The shape of the mouth is long skinny with an upward angle, in addition to the untidy and sharp teeth that hang outward of the outer part of the mouth which deepens the evil feel of the character. For the mouth and teeth have great influences on the evil gestures of the face, and the sharp teeth represents the evil expression is far exceeding than the mouth feature. It is hard to do the facial expressions with the ears and the nose, and they have the less contributions in bring out the facial features of the villain character. This experiment research is conducted in two stages. The first stage is studying on “the five facial features of villain character” and the results found from the experiment are: the eyebrows, eyes and mouth of the five facial features when they form in a triangular shape in conjunction to each other with an upward relation at an angle of 60 degree showing the strongest evil expression. Starting from teeth as the main corner of a triangle in a straight drop line at an angle of 120 degree also shows strong evil expression. According to the observations, triangular shape is the most chosen form for eyebrows, eyes, mouth and teeth next will be hexagon and the curves appear the least. The second stage of the experiment is studied “ the most evil facial expression in five facial features” and the results found from the experiment are: when eyebrows form in triangular shape at an angle of 60 degree shows the strongest evil expression; and eyes in a hexagon shape at an angle formed 60 degree indicates the strongest evil expression; mouth formed in a triangular shape at an angle of 60 degree displays the strongest evil expression; With the teeth in the form of hexagon and at an angle of 120 degree showing the strongest evil expression. Upon comparing these two experiments and found that there were differences between the eyes and teeth during the two experiments from whom were undertaken the experiment. The shapes between the eyebrows and the eyes, the mouth and the teeth and the conjunction angles echo the overall correlation, when designing the facial features of the villain character, through the form of the eyes and the mouth which compliments to the eyebrows and the teeth, it can strengthen up the vividness and liveliness of the facial expressions of the villain character.

碩士
世新大學
傳播管理學研究所(含碩專班)
100
In the context of cultural globalization and the trend of cross-country touring exhibitions, the art museums in Asia usually become the recipients of touring exhibitions, due to the lack of “high-quality” collection. The international flow of art collections among art museums can be understood via the economic principle of supply and demand. Such cross-country interaction has resulted in the localization of representation and transition of the original content. This study takes a historical research approach to explore and analyze the context of international touring exhibitions and the phenomenon of blockbusters exhibitions in Taiwan. Furthermore, Pixar: 20 Years of Animation, hosted by Taipei Fine Arts Museum in 2009, a case study of such type is employed to the exhibition,. The standardized exhibition content interacts with the localized education and marketing program. The interaction facilitates to create the new content, which includes the original exhibition and the localized education program. The results indicate that: first, the communication content of the exhibition is globally standardized. Meanwhile, the localized educational content is rarely seen in the mass media and lack of mass communication. Secondly, the misplacement of museum branding subject is worth concern. Art museums in Taiwan import the western popular touring exhibitions, and promote those exhibitions to become blockbusters to form the image of the museum itself.  Finally, a fundamental change of the institutional cooperating model between art museum and media-owned campaign company is discussed in the research.

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
105
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 , and . Disposition experimental group watching the short animated and controlled group watching story content pictures and text. Use the "critical thinking dispostition" and "critical thinking skill" as the evalustion tool, after the experiment implementation, to quantify the statistical analysis of college students in the critical thinking of the implementation of the effect of differences. In this study, we used independent samplet test, paired samplet test, covariance analysis, Johnson Neyman for data analysis, the results show that watching the short animated can really better than watch the story content picture and text. There are some significant positive effects on the way in which the short animated has a significant positive impact on the "critical thinking disposition" of college students, and the effectiveness of the experimental group in terms of "critical thinking skills" The control group, can see that through the implementation of the way to watch the animated short film, really can partially enhance the university's critical thinking ability.

碩士
文藻外語大學
創意藝術產業研究所
102
Throughout its history, the consumption elements of popular culture was not taken seriously by art museums. However, Taipei Fine Arts Museum (TFAM) is the pioneer. It held the exhibition 「Pixar : 20 Years of Animation 」in 2009. The exhibition successfully attracted people’s attention and bring 410,000 visitors. It put TFAM into the limelight in the museum field and in the related discussions. Art museums coming to believe the exhibition related with popular culture can reinvent their image and also improve people’s willingness to visit museum. When product and animation enter a museum, and they are viewed as art. It seems like visitor’s demand have become more important to museums. But, what's the meaning behind the exhibition when PIXAR into TFAM? Then, the questions are as follws: What is the relationship between museums and their exhibitions? What is the role of TFAM in 「Pixar : 20 Years of Animation」? What are the impacts to TFAM? The research adopted qualitative methodology. The data were collected through literature review and in-depth interview. The study begins with a discussion of the definition and historical development of art museums. Then, we attempt to analyze the background, meaning of 「Pixar : 20 Years of Animation」, and its impacts on TFAM. Finally, the study focuses on the relationship between TFAM and 「Pixar : 20 Years of Animation」. The results have showen that TFAM puts more emphasis on people –centered concept. However, the study also raises new questions. TFAM was established on modern arts in collections, research, exhibitions, and education. Nevertheless, TFAM holds the animation exhibition that most people are familiar with, but not TFAM’s area of expertise. The exhibition could not connect with TFAM not only indicated the difficulties under exhibitions related with popular culture, but also impact on TFAM’s image position.