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Journal articles on the topic 'Pixar Animation'
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1
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.
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Putri, Rosalia Tania. "Gender Role Ideology in Pixar’s “Wall-E” and “Monsters University”." K@ta Kita 5, no. 3 (November 16, 2018): 113–20. http://dx.doi.org/10.9744/katakita.5.3.113-120.
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Animation films have increasingly evolved throughout the years. No longer just a medium to convey stories, films also become an agent to express one’s beliefs. In this thesis, I discuss how Pixar demonstrates their ideal gender role through their films, Wall-E and Monsters University, with the assumption that Pixar deconstructs traditional gender role to show Pixar’s belief that a character can only be successful when he or she is able to adopt traits from both extremes. In order to accomplish this, I use gender role theory. In the analysis, I find out that both films’s existing ideology is that masculine gender role traits are put in higher hierarchy. However, the main characters’s characterization shows gender role traits which debunk the existing ideology such that both masculine and feminine traits become equally important to adopt. As a result, I can see that Pixar supports androgyny through their main characters. I also discover that their ideology can be used for increasing their profit income.
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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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Smith, Steven. "Book review: Pixar and the Aesthetic Imagination: Animation, Storytelling, and Digital Culture." Animation 13, no. 1 (March 2018): 85–88. http://dx.doi.org/10.1177/1746847717752604.
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Schiele, Kristen, Lauren Louie, and Steven Chen. "Marketing feminism in youth media: A study of Disney and Pixar animation." Business Horizons 63, no. 5 (September 2020): 659–69. http://dx.doi.org/10.1016/j.bushor.2020.05.001.
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Da Cruz Gonçalves Neto, João. "A pedagogia conservadora do cinema de animação: Os Incríveis (Pixar, 2004)." Revista Interdisciplinar de Direitos Humanos 9, no. 2 (December 12, 2021): 231–49. http://dx.doi.org/10.5016/ridh.v9i2.108.
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Resumo: Uma das mais poderosas formadoras do imaginário coletivo contemporâneo é a indústria cultural e, como produto privilegiado em termos de acesso a ele, há as animações voltadas principalmente para o público infantil produzidas por grandes estúdios de cinema, como a Pixar / Disney. Como contos de fada modernos, suas histórias remetem a belas mensagens morais, como a amizade, a solidariedade, a persistência, o respeito e outros valores edificantes, mas veiculados por mensagens políticas de força pedagógica essencialmente conservadoras ou reacionárias. Decodificar essas mensagens políticas num caso exemplar, o filme Os Incríveis, é o objetivo deste artigo. Isso será feito apresentando um resumo da trama, algumas características contextuais que formam a mensagem política e sua relação com o discurso dos direitos humanos, para ao fim postular as mensagens presumidas pela leitura moralista e pelas leituras contextual e política.
La pedagogía conservadora del cine de animación: Los Increíbles (Pixar, 2004)
Resumen: Uno de los moldeadores más poderosos del imaginario colectivo contemporáneo es la industria cultural y, como producto privilegiado en cuanto al acceso a ella, existen animaciones dirigidas principalmente a niños producidas por grandes estudios cinematográficos, como Pixar / Disney. Como los cuentos de hadas modernos, sus historias remiten a hermosos mensajes morales, como la amistad, la solidaridad, la perseverancia, el respeto y otros valores edificantes, pero transmitidos por mensajes políticos de fuerza pedagógica esencialmente conservadora o reaccionaria. Decodificar estos mensajes políticos en un caso ejemplar, la película Los Increíbles, es el propósito de este artículo. Esto se hará presentando un resumen de la trama, algunas características contextuales que configuran el mensaje político y su relación con el discurso de los derechos humanos, para finalmente postular los mensajes asumidos por la lectura moralista y por las lecturas contextual y política.
Palabras clave: Crítica cultural. Derechos humanos. Cine de animación. Conservadurismo. Pixar.
The Conservative Pedagogy of Animation Film: The Incredibles (Pixar, 2004)
Abstract: One of the most powerful shapers of the contemporary collective imagination is the cultural industry and, as a privileged product in terms of access to it, there are animations aimed mainly at children produced by large movie studios, such as Pixar / Disney. Like modern fairy tales, their stories refer to beautiful moral messages, such as friendship, solidarity, persistence, respect and other edifying values, but conveyed by political messages of essentially conservative or reactionary pedagogical strength. Decoding these political messages in an exemplary case, the movie The Incredibles, is the purpose of this article. This will be done by presenting a summary of the plot, some contextual characteristics that form the political message and its relationship with the human rights discourse, in order to finally postulate the messages assumed by the moralistic reading and by the contextual and political readings.
Keywords: Cultural criticismo. Human rights. Animated film. Conservatism. Pixar.
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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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Ma, Lei, Cen Qian, Zheng Liu, and Yue Zhu. "Exploring the Innovation System of the Animation Industry: Case Study of a Chinese Company." Sustainability 10, no. 9 (September 8, 2018): 3213. http://dx.doi.org/10.3390/su10093213.
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In the past 10 years, the animation industry has developed rapidly due to new technology and market expansion. Leading firms such as Disney are continuously seeking strategies to expand business towards products and service innovation, whereas Pixar and DreamWorks focus mainly on technology management. Driven by market and government policy, there is a blooming of the animation industry in China. However, most Chinese companies, in shortage of knowledge and experience, are unclear about innovation strategies. Thus, this paper aims to investigate the innovation system of China’s animation industry as a late comer. The literature is covered together with an industry review. To further explore the details, an in-depth case study into a Chinese company is conducted. This company has developed an open innovation system by interacting with industry, university and government; meanwhile, it is penetrating into the character business and service sector, seeking for sustainability. Findings indicate that a combination of internal knowledge management and open innovation is important; government plays a vital role at the early stage of forming the innovation system; innovation is a dynamic process with different configurations at each stage. Discussions are given to address the critical issues of the innovation system in the animation industry, followed by conclusions and recommendations for future research areas.
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Altman, James. "Pixar and the Aesthetic Imagination: Animation, Storytelling, Digital CultureEricHerhuth. University of California Press, 2020." Journal of American Culture 43, no. 4 (December 2020): 345–46. http://dx.doi.org/10.1111/jacc.13211.
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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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Herhuth, Eric. "Life, Love, and Programming: The Culture and Politics of WALL-E and Pixar Computer Animation." Cinema Journal 53, no. 4 (2014): 53–75. http://dx.doi.org/10.1353/cj.2014.0042.
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Keller, Johanna. "Book Review: Pixar and the Aesthetic Imagination: Animation, Storytelling, and Digital Culture, by Eric Herhuth." Journalism & Mass Communication Educator 74, no. 1 (February 12, 2019): 111–13. http://dx.doi.org/10.1177/1077695818825482.
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Bevilacqua, Aline Handy, Carolina Garcia Yassui, Carolina Mazzola Fernandes, Luiza Helena Damiani Aguilar, and Maiara Heleodoro dos Passos. "Quer mais chá, Dona Marocas? - Uma análise do papel da cultura participativa entre os fãs do Pixar Animation Studio." Anagrama 9, no. 1 (August 25, 2014): 1–19. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2015.83947.
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Esse artigo tem por objetivo perceber como uma produção específica de um fã (no caso, as teorias desenvolvidas por Jon Negroni, principalmente a Teoria da Pixar e a Teoria da Mãe do Andy) repercutiu dentro do fandom da produtora. Para tanto, utilizamos como base conceitos de Andrejevic, Castells, Anderson, Hills, Booth e, principalmente, Jenkins. Como esse assunto foi amplamente divulgado na internet nacional, utilizamos a análise de comentários de quatro vídeos do YouTube Brasil para ter uma medida da reação dos fãs à essa produção de Negroni
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Kim, Yun-Jung. "A Study of Ironic Features in Full-length Animation of PDI Dreamworks and Pixar - Focusing on and." Cartoon and Animation Studies 36 (September 30, 2014): 1–17. http://dx.doi.org/10.7230/koscas.2014.36.001.
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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.
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Savina Rachma Oktaviandry and Virginia Suryani Setiadi. "IDENTIFIKASI SKEMA WARNA PADA COLOR GRADING SEBAGAI PEMBANGUN MOOD DALAM FILM ANIMASI PIXAR “COCO”." Jurnal Dimensi DKV: Seni Rupa dan Desain 8, no. 2 (October 16, 2023): 151–66. http://dx.doi.org/10.25105/jdd.v8i2.18394.
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Movie “Coco”. Color grading is one of the important factors in the cinematography of a film. The atmosphere in a film can be formed with different coloring for each scene so that it can build the right atmosphere. This research was conducted to identify the color scheme in color grading as a mood builder in Pixar’s animated film “Coco”, using a qualitative approach, and descriptive method. Data collection comes from various visual sources and library references. From this research, it is concluded that the color scheme in color grading in Pixar’s animated film “Coco” successfully builds the audience’s mood by using different color schemes for each scene. The color schemes that are often used in the animated film are derivatives of orange, blue, and purple. The results of research journals on color grading as a mood builder in Pixar’s animated film “Coco” are expected to be one of the reference sources or references, especially textual studies on color grading. This research journal is also expected to contribute as a reference development study in multimedia, using an approach regarding color schemes as mood builders in a film.
Keywords: color grading, color scheme, mood, animation, Coco
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Wu, BiLang. "A study of the narrative function of character costumes in Pixar animation - centered on the semiotic analysis of the costume design of the animation Coco -." Journal of Basic Design & Art 23, no. 6 (December 31, 2022): 217–30. http://dx.doi.org/10.47294/ksbda.23.6.15.
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Crosthwait, George. "The Afterlife as Emotional Utopia in Coco." Animation 15, no. 2 (July 2020): 179–92. http://dx.doi.org/10.1177/1746847720937443.
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This article situates the Pixar computer animation Coco (dir. Lee Unkrich and Adrian Molina, 2017) within a recent selection of afterlife fictions and questions why such narratives might appeal to our contemporary moment. The author’s response is structured around the idea of utopia. In Coco, he identifies several conceptions of utopic space and ideals. The afterlife fiction places characters and viewers in a reflexive location which affords them the opportunity to examine their lives as lived (rather than in death). Transplanting Richard Dyer’s work on classic Hollywood musicals as entertainment utopia to a contemporary animated musical, the article proposes that such a film can be seen as adhering to a kind of ‘new cinematic sincerity’. Coco’s particular depiction of The Day of the Dead fiesta and the Land of the Dead has its roots in the Mexican writer Octavio Paz’s poetic and romantic treatise The Labyrinth of Solitude (1950). A comparison between these two texts suggests that willing encounters with death can be connected to an openness to transitional states of being. Through close readings of key musical sequences in Coco, the author demonstrates how the properties of the musical are combined with animation aesthetics (baby schemata, virtual camera) to lead viewers into their own utopian space of heightened emotions and transition.
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Kalmakurki, Maarit, and Marley Healy. "‘Who wants the pressure of being super all the time?’: Mid-century modern fashions and their influence on costume development in The Incredibles and Incredibles 2." Film, Fashion & Consumption 11, no. 1 (April 1, 2022): 91–108. http://dx.doi.org/10.1386/ffc_00041_1.
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In this article, we examine period fashions in character costumes in the two Pixar/Disney computer-animated films, The Incredibles and Incredibles 2. These films have a strong mid-century modern design influence interwoven into the films’ narratives and aesthetic designs. The films have previously raised interest in fashion studies, due to their superhero concept. However, an analysis of the characters’ everyday dress is also valuable for understanding the influence of fashion and pop culture references on contemporary animated film costuming and how those elements embed within the technological development of digital characters’ clothing. We employ historical and visual analysis to highlight the integration of design elements of period-appropriate fashions into character costumes. Additionally, we examine the relationship between animation software development and the films’ design aesthetics to inspect how technological advancements support the behaviour of cloth, narrative progression and characters’ personal emotional arcs by reviewing industry articles as well as animator and designer interviews from the making of the films. This is a unique case study that explores the influences and inspiration of period-specific fashion in constructing costumes for computer-animated films, which are ostensibly set in an environment also inspired by the period and specific cultural zeitgeist.
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Baik, Seung-Kyun. "Analysis on Characterization of Non-Human Characters in Animations : Focusing on the Pixar Animation <Finding Nemo>, <Cars>, <Wall-E>." Korean Journal of animation 19, no. 3 (September 30, 2023): 224–38. http://dx.doi.org/10.51467/asko.2023.09.19.3.224.
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Duaei, Kamaluddin. "‘Riley needs to be happy’: Inside Out and the dystopian aesthetics of neo-liberal governmentality." European Journal of American Culture 39, no. 2 (June 1, 2020): 199–215. http://dx.doi.org/10.1386/ejac_00023_1.
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Throughout the last decade, neo-liberalism has increasingly been the subject of academic inquiries, probed for its infiltrating influences in media and cultural products. Approaching the animation industry, this article takes a critical take at Inside Out (2015), a feature Disney‐Pixar production, to reveal the way it is embedded in the discursive network of neo-liberalism, exhibiting neo-liberal niceties and legitimating its notional structures. Inside Out renders a subjectivity of self-responsibility and self-enterprise when surveyed vis-à-vis its hypothetical grounds in positive psychology and neuroscience. The result is a subject who has to be happy but her happiness is ontologized as a matter of emotional dynamics inside her mind. It is concluded that, through its representation of mind that comes at the cost of reason and free will, Inside Out marks the neo-liberal, affective turn in the conglomerate.
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Wahyuni Esiyansyah, Tulus Rega. "MAKNA PERSAHABATAN DALAM FILM LUCA MELALUI PENDEKATAN SEMIOTIKA FERDINAND DE SAUSSURE." JURNAL Dasarrupa: Desain dan Seni Rupa 5, no. 3 (February 22, 2024): 22–29. http://dx.doi.org/10.52005/dasarrupa.v5i3.168.
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Penelitian ini bertujuan untuk menganalisis makna persahabatan dalam film animasi Luca yang merupakan film hasil kolaborasi antara Pixar Animation Studios dan Walt Disney Studios. Metode yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan analisis pendekatan semiotika Ferdinand de Saussure. Teknik analisis data dalam penelitian ini menggunakan langkah-langkah: 1) Menonton dan memperhatikan detail dari keseluruhan film Luca yang berdurasi 95 menit; 2) Pengambilan serta pemotongan adegan atau scene yang berupa dialog ataupun tindakan yang berhubungan dengan objek yang akan penulis teliti; 3) Menjelaskan secara deskriptif hasil dari pengambilan scene baik dialog ataupun tindakan yang menggambarkan makna persahabatan; 4) Memasukkan potongan scene-scene yang sesuai dengan objek yang akan diteliti yaitu makna persahabatan ke dalam analisis semiotika Ferdinand de Saussure yang berupa penanda (signifier) dan petanda (signified). Berdasarkan hasil analisis yang didapat dari film Luca, terdapat makna persahabatan baik dari tindakan ataupun dialog antar tokoh dalam film animasi Luca.
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Zhou, Wenxuan. "Analysis of Two Representative Acquisition Deals in Media and Entertainment Industries." Advances in Economics, Management and Political Sciences 20, no. 1 (September 13, 2023): 39–46. http://dx.doi.org/10.54254/2754-1169/20/20230170.
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The deals in the dynamic media and entertainment industries have been paid great attention to in recent years. One of the most valuable things that companies competed for was customers attention. Hence deals were made to provide unparalleled technologies or content. The case studies adopted in this study are objective and specific. Focusing on the analysis of two representative acquisition deals in the media and entertainment industries, this article gives a comprehensive introduction to Walt Disney Company, Pixar Animation Studios, Microsoft Corporation and Activision Blizzard, lists essential contract terms and summarizes the changes. To conclude, in the process of merger or acquisition, technologies and entertainment content are key elements in companies consideration. Through exchanging and sharing resources, parties involved in the deals could achieve a win-win relationship. Nevertheless, there are also many problems that need to be solved, including the interference of the third party, cultural conflict and changing market requirements.
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Klaehn, Jeffery. "‘It’s the brightness of the idea’: Talking comics with Brendan McCarthy." Studies in Comics 12, no. 1 (November 1, 2021): 151–57. http://dx.doi.org/10.1386/stic_00058_7.
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Visionary British artist and designer Brendan McCarthy is internationally known for his singularly unique approach to art and craft. His comics debut, Sometime Stories, was published in 1977, and he went on to publish work with Vanguard Illustrated, Strange Days, 2000 AD, and Vertigo. He was part of the famous ‘British Invasion’ of the comics industry in the 1980s, which actually led to the creation of DC Vertigo and created new pathways for comics to gain wider influence within both Hollywood and the broader pop culture. With writer Peter Milligan, he co-created Freakwave, Strange Days, Paradax!, Rogan Gosh and Skin, and he painted covers for Milligan’s Shade the Changing Man DC Vertigo series. A pioneer in the field of computer animation, he created visuals for the 90s computer animated TV series ReBoot, which preceded Pixar and Dreamworks, and he contributed to a wide range of TV series, feature films, animation, and commercials during his more than two decades spent working in Hollywood. He co-wrote and was a designer on the feature film Mad Max: Fury Road (2015). His more recent comics work includes Dream Gang, published with Dark Horse, and The Zaucer of Zilk (with writer Al Ewing and colourist Len O’Grady) for 2000 AD. This interview explores key dimensions of his career in comics, British comics and the ‘British Invasion’ of the 1980s, Paradax!, and the influence and inspiration of David Bowie.
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Rahayu, Nurhadianty. "The Portrayal of Gender and Race in Cars Trilogy." ATAVISME 22, no. 1 (June 26, 2019): 75–87. http://dx.doi.org/10.24257/atavisme.v22i1.532.75-87.
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As the most commercially successful animated film, Cars trilogy, produced by Pixar Animation Studios, are opted to be analysed due to its impact on formulating perception of gender and race. Considering that intolerance and gender-based injustice still happens within our society, any discussion about gender and race portrayal, particularly through films, becomes urgent. The study aims at investigating how gender and race are portrayed in Cars trilogy. Gender portrayal is analysed through Beauvoir’s concept of immanence and transcendence and Finklea’s themes about masculinities. The portrayal of race is investigated using McLaren’s critical multiculturalism. The study uses the descriptive analytical interpretative method. The data analyzed are the characters, dialogue, and plot. The result shows that men and women are portrayed as equal but the stereotypes are still visible. Men are portrayed not only brave but also confident. Males’ romantic interest is manifested in heterosexual desire and male bosses are driven by profit. Women can be successful in racing if she dares to intervene the bureaucracy or is given opportunity by men. Different accent of English is seen as less capable and white characters are not always portrayed unproblematic.
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Vivi Fauziah and Retno Purwani Sari. "Cultural Components of Film COCO: A Mexican Heritage Multicultural Culture." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 6 (March 31, 2023): 862–74. http://dx.doi.org/10.34010/icobest.v4i.405.
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The aim of this study is to investigate the Mexican cultural components displayed in Pixar Animation Studios’ film Coco. This study examines how cultural practices and maintenances are issued and debated in Mexico, which is known for having the most cultural diversity in America. The study is based on Kennedy and Manohar’s cultural components theory. The qualitative method was used in this study, with note taking used to collect valid data. According to the findings, the film Coco contains seven types of Mexican cultural components: language, religion or belief, norms, cultural values, social collectives, statuses and roles, and cultural integrations. They are all practiced as part of ‘Day of the Dead’ as we known as the Mexican tradition and a part of family traditions. This film’s depiction of multiculturalism has successfully preserved Mexican cultural identity while providing creative and innovative support. Mexican multicultural concepts offer a more comprehensive and useful perspective on today’s world. This study defines how cultural maintenance can support the specific and unique identity of a specific culture. Exploration of arts, culture and heritage, for example, through movies is a potential activity to deal with our senses after a pandemic’s crisis
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Monti, Silvia. "“Hola, Señorita. Do You Like Gazpacho?” Challenges and Trends in the Audiovisual Translation of Linguacultural Otherness in American Multilingual Animated Films and Their Italian Dubbed Version." Languages 8, no. 2 (April 26, 2023): 116. http://dx.doi.org/10.3390/languages8020116.
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In the last decades, ethnolinguistic Otherness has assumed an increasingly prominent position in many audiovisual products focusing on non-mainstream cultures otherwise quite voiceless in audiovisual media and giving voice to multilingual discourse practices where code-switching stands out as a key conversational strategy in expressing linguacultural diverse identities. This ties issues of on-screen multilingualism to the field of audiovisual translation and raises new challenges as far as the screen representation/translation of linguacultural specificities is concerned. All this is interestingly to be observed in animated films; indeed, since the early 1990s, such important animation production companies as Walt Disney, Pixar, and Dreamworks began to produce ethnically diverse films offering deep sociolinguistic insights into non-dominant countries and populations whose richness is conveyed on the screen by dialogues interspersed with their native languages, acting as vital symbols of their ethnocultural identity. Starting from these observations, this paper aims at looking contrastively and diachronically at how L3s, i.e., languages different from both the language of the original film and the language of the film’s dubbed version, used in instances of turn-specific, intersentential and intra-sentential code-switching, have been dealt with in the original version and in the Italian dubbed version of thirty American multilingual animated films, released between 1991 and 2022. The main objectives of this study are: to verify to what extent the original ethnolinguistic Otherness is either retained for the Italian audience or manipulated in dubbing; to observe whether and how the screen translation studies’ approach in conveying linguistic diversity in animation has possibly changed over the last thirty years; and to point out what can be achieved by audiovisual translation in terms of intercultural/interlingual transmission when autochthonous linguacultures are represented in animated films.
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Hewa, S. G. "‘Monsters’ vs. ‘Angels’: A Feminist Approach to the Film Brave Through the Character of Merida." Vidyodaya Journal of Humanities and Social Sciences 07, no. 01 (2022): 223–34. http://dx.doi.org/10.31357/fhss/vjhss.v07i01.14.
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Brave (2012) is an animated film produced by Pixar Animation Studios and released by Walt Disney pictures. Set in the fictional medieval times of Scotland, the story follows the journey of Merida, a rebellious young girl who strives to dismantle oppressive social norms and conventional attitudes upheld by her mother. The way in which the film presents powerful feminist ideologies is discussed by providing insight into the importance of solidarity between women, repressive gender stereotypes and the cyclical nature of oppression within the patriarchal social structure. The concept of gender and its complexities are explored within this study to identify dominant patriarchal ideologies that are marginalizing and discriminatory towards women. The trajectory of Merida which is representative of the struggles of women within the patriarchal social structure is analysed while focusing on the mother-daughter relationship. This research aims to present the oppressiveness of socially constructed gender identities through the challenges faced by Merida in her fight for freedom and self-expression. The feminist elements of the film are discussed based on the dichotomy of the ‘angel’ and the ‘monster’ highlighted by the theorists Gilbert and Gubar in Mad Woman in the Attic (1979). Furthermore, the theories of bell hooks, Simone de Beauvoir, Judith Butler and Luce Irigaray are used to support the central argument.
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Han, Xiaoyu. "A Study of Disney’s Business Development." SHS Web of Conferences 193 (2024): 01011. http://dx.doi.org/10.1051/shsconf/202419301011.
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The establishment of The Walt Disney Company can be traced back to the year 1923, when two brothers, Walt and Roy O. Disney, founded a small animation studio that has further developed into a global media organization through strategic innovation, diversification, and expansion. The paper analyses the business development of Disney by looking into its historical background, diversification policies, globalization, digital transformation, and its social and environmental responsibilities. Through the acquisition of big studios like Pixar, Marvel, and Lucasfilm as well as the launch of Disney+ streaming service Disney has furthered the diversity of the entertainment offering as well as kept up with the needs of the digital age. The international theme parks and media networks owned by the company show their global influence and ability to adapt the local context through portraying different cultures. Disney`s way of dealing with the sustainability and social responsibility is a solid proof of its environmental protection and community contributing. The COVID-19 pandemic, among other challenges, did not obstruct Disney’s goal-oriented orientation and resourcefulness in achieving the desired outcomes. Thus, this study underlines the everlasting impact of Disney and its innovative approach for further development in a very dynamical sector of the entertainment industry.
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Fithri, Nuramalia, Siti Indah Lestari, and Noprita Elisabeth Sianturi. "ANALISIS SEMIOTIKA PADA POSTER FILM “INSIDE OUT”." Kreatif : Jurnal Karya Tulis, Rupa, Eksperimental dan Inovatif 5, no. 2 (January 20, 2024): 81–90. http://dx.doi.org/10.53580/files.v5i2.66.
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Film Inside Out merupakan film animasi yang dirilis pada tahun 2015, disutradarai oleh Pete Docter dan diproduksi oleh Pixar Animation Studios. Poster Film yang memberikan gambaran tentang situasi perjalanan emosi dalam diri seorang anak perempuan bernama Riley yang pindah ke kota baru. Dalam poster terdapat beberapa karakter emosi seperti Joy, Sadness, Fear, Anger, dan Disgust. Poster di desain unik dan semenarik mungkin untuk mendapat perhatian para penonton. Setiap karakter memiliki penampilan unik dan warna mencolok, mencerminkan sifat dan emosi yang mereka tampilkan. Poster ini juga menampilkan latar belakang yang beragam, dengan berbagai pemandangan yang mencerminkan petualangan emosi dalam cerita film, Perubahan warna, tekstur pada latar belakang merupakan perubahan suasana hati dan konflik yang terjadi di dalam film. Memaknai sebuah tanda semiotika dalam poster film inside out maka penulis melakukan penelitian pada poster film inside out dengan menggunakan teori Charles Sanders Pierce, tanda dalam semiotika akan selalu berkaitan dengan logika, Pierce membagi tanda atas tiga hal, yakni ikon, indeks, dan simbol. Penelitian ini dilakukan untuk menganalisis perjalanan emosi yang ada pada film tersebut. Tujuan penelitian ini adalah menganalisis tanda dalam teori semiotika Charles Sanders Peirce dalam Poster Film Inside Out. Metode penelitian yang digunakan yaitu pendekatan kualitatif yang bersifat deskriptif. Hasil dari penelitian ini menunjukkan keadaan emosional seseorang lewat karakter yang ada di dalam Film Inside Out.
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장장자 and Kimjunkyo. "The color analysis of human characters in Pixar 3D animation - Focused on Sasang constitution, psychological categories of C.G. Jung theory and I.R.I color image scale -." Journal of Korea Design Forum ll, no. 39 (May 2013): 313–24. http://dx.doi.org/10.21326/ksdt.2013..39.028.
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Jesica Vanessa, Hutapea, and Suwastini Ni Komang Arie. "USING SHORT FILMS FOR TEACHING ENGLISH WHILE BUILDING CHARACTERS." Lingua Scientia 26, no. 1 (July 22, 2019): 33. http://dx.doi.org/10.23887/ls.v26i1.18846.
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The role of teachers in EFL/ESL classroom is very important for the improvement of the students since it is believed that professional and creative English teachers can help students in learning English well. However, many teachers still lack the effort in finding new ideas and in improving their professionalism as a good English teacher. Yet, with the development of technology nowadays, many media are worth to be considered in teaching English. One of the media that is being actively mentioned in educational world nowadays is short film. In this case, short film is believed to be one of the appropriate ways in teaching English especially in teaching the character education presented in it. With short film, students can have more exposure to authentic English and the culture of the target language. But another important benefit is often overlooked by teachers, that is the possibility of learning values for building the students’ characters through the use of short film in the learning process. This present paper will try to respond to this fact by identifying the values of character educations in a short film entitled Piper from Pixar animation through textual analysis. There are character educations that revealed about parenting, self-supporting, and friendship value in the film. Thus, it can be concluded that when chosen correctly, short films can be a media for building students’ characters while developing their English, all in a more entertaining, relaxed, and enjoyable media that meet the students’ 21st century contexts.
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Lins, Thais Mazotti, and Giovana Cordeiro Campos. "REFLEXÕES SOBRE O PROCESSO DE ADAPTAÇÕES CULTURAIS NO FILME DIVERTIDA MENTE." Trama 18, no. 45 (August 6, 2023): 25–37. http://dx.doi.org/10.48075/rt.v18i45.30337.
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O processo de traduzir não envolve apenas palavras e expressões, mas também aspectos culturais dos texto-fonte e meta, lembrando que os Estudos da Tradução se fundam na proposta da tradução como processo histórico-social-cultural. Além disso, tendo em vista que os sentidos de um produto audiovisual são produzidos por meio da “leitura” não apenas do texto oral (falado), mas também das imagens e sons (músicas, cores, montagem, cortes etc.), cabe aos Estudos da Tradução refletirem sobre o modo como todo um conjunto de componentes é relacionado na obra fonte e como se dão essas relações na obra meta. O filme Divertida Mente, produzido em 2015 pela Pixar Animation Studios, é objeto interessante para a abordagem das relações culturais que podem ser estabelecidas por meio da proposta de circulação de obras audiovisuais para além de seu contexto de produção. Em nossa pesquisa, observamos que, por ter como temática os sentimentos das personagens, em especial os personificados Alegria, Tristeza, Medo, Raiva e Nojinho, Divertida Mente apresenta em suas traduções para outros contextos adaptações culturais não apenas nas legendas ou dublagens, mas no próprio corpo do objeto audiovisual. Por meio do cotejo entre texto-fonte (o filme em inglês) e meta (o filme traduzido), é possível ver alterações com o objetivo de que os “novos” públicos possam compreender as emoções que estão sendo retratadas e que sejam produzidos neles sentimentos semelhantes, possibilitando uma identificação. Tomando como base propostas dos Estudos da Tradução, mais especificamente o conceito de adaptação (BAKER, 2005) e o de reescrita (LEVEFERE, [1992] 2007), o presente artigo busca discutir algumas das adaptações culturais do referido filme, de modo a refletir sobre o processo de tradução de textos fílmicos em que há o recurso de adaptações culturais para gerar uma maior aproximação e compreensão entre o texto e o público.
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Hanif, Farhan, I. Nengah Sudika Negara, and Ni Ketut Rini Astuti. "ANIMASI 2D SEBAGAI MEDIA EDUKASI KESEHATAN GIGI ANAK DI PT. PILAR KREATIF TEKNOLOGI DI DENPASAR." AMARASI: JURNAL DESAIN KOMUNIKASI VISUAL 3, no. 02 (July 26, 2022): 132–42. http://dx.doi.org/10.59997/amarasi.v3i02.1692.
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2D animation is one of the oldest forms of animation in the world. Because when it was first created, 2D animation was drawn on a rotating round paper media. On the surface of the paper, there are several images that when viewed using a special tool will create the illusion of movement called animation. 2D animation also continues to grow. Until now, 2d animation continues to be used for entertainment, education, or education needs, to marketing and commercial advertising. Because there are many advantages of 2D animation that 3D animation does not have. The data analysis method used is descriptive qualitative analysis, namely an examination that describes explaining facts about 2D animation as a medium for children's dental health education. The basic rule of qualitative examination is to process and investigate the collected information into precise, efficient, and organized information. 2D Animation as Educational Media for Children's Dental Health with the title "Lala and the Cookie Monster" uses 2D animation in the form of motion graphics which aims to provide education to children about how to care for and maintain teeth in reducing sugary foods or drinks. This 2D animation project is an Internship or Practical Work project carried out at PT. Creative Pillar of Technology and very useful for students, especially for Visual Communication Design students. Because here we get real work on how projects are being carried out at partners starting from the process of receiving data or briefs, brainstorming processes, and visualizing processes to finishing processes.
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Pandanwangi, Wiekandini Dyah, and Farida Nuryantiningsih. "ANIMASI KARTUN BERTEMA FALSAFAH JAWA SEBAGAI PENDIDIKAN KARAKTER BAGI ANAK USIA DINI." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (September 14, 2017): 21. http://dx.doi.org/10.24821/rekam.v13i1.1644.
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Latar belakang dari penelitian ini adalah adanya berbagai kasus yang bertentangan dengan nilai-nilai moral seperti korupsi yang menunjukkan rendahnya karakter dalam masyarakat. Oleh karena itu, pendidikan karakter merupakan aspek yang sangat penting dalam memperbaiki nilai moral masyarakat Indonesia. Pendekatan kebudayaan khususnya falsafah Jawa akan dijadikan landasan pendidikan karakter pada anak usia dini. Hal ini karena dalam budaya Jawa sarat akan pendidikan nilai yang merupakan substansi utama dari pendidikan karakter. Dalam budaya Jawa terkandung tata nilai kehidupan Jawa, seperti norma, keyakinan, kebiasaan, konsepsi, dan simbol-simbol yang hidup dan berkembang dalam masyarakat Jawa.Pendidikan karakter yang digali dari substansi budaya Jawa dapat menjadi pilar pendidikan budi pekerti bangsa. Budaya Jawa memiliki pandangan hidup (yang sering disebut sebagai falsafah hidup) yang merupakan kesatuan pola pikir orang Jawa dalam menempuh kehidupan. Falsafah hidup Jawa adalah saripati perjalanan hidup orang Jawa menjadi “Jawa”. Di dalam falsafah ajaran hidup Jawa, terdapat ajaran keutamaan hidup yang diistilahkan dalam bahasa Jawa sebagai piwulang (wewarah)kautaman. Pendidikan karakter pada anak usia dini menjadi fondasi dasar dalam mengembangkan keterampilan sosial di masa yang akan datang. Pendidikan karakter yang kuat dan kokoh merupakan hal yang penting dan harus ditanamkan sejak dini agar anak bangsa menjadi pribadi yang unggul seperti yang diharapkan dalam tujuan pendidikan nasional dan dapat memperkokoh bangsa dari pengaruh negative seperti korupsi. Penelitian ini merupakan penelitian deskpritif kualitatif dengan rancangan penelitian studi kasus (case study). Lokasi penelitian adalah dua puluh Taman Kanak-Kanak terpilih di Purwokerto. Pengumpulan data menggunakan teknik in depth interview danfocus group discussion pada informan yang terpilih.Informan dipilih dengan metode purposive sample. Analisis data dilakukan dengan model analisis perbandingan dan interpretasi data. Keabsahan data akan diuji dengan triangulasi sumber dan triangulasi metode. Dalam penelitian ini, temuan yang ditargetkan adalah pembuatan model pendidikan karakter berlandaskan falsafah Jawa.Untuk membantu para guru Taman Kanak-Kanak dalam mengaplikasikan model pendidikan karakter berlandaskan falsafah Jawa, disusun modul pendidikan karakter yang berlandaskan falsafah Jawa yang berbentuk animasi kartun. The backgroud of this study are about cases which are againts moral values, such as, corruption that shows the lowness of character in the society. Because of that, character education is very important to improve Indonesian moral value. Thus, cultural approach especially Javanese philosophy is used as the foundation of character education for early childhood. This is because Javanese culture is rich on education values, so those make it become the main substance of character education. Moreover, Javanese culture contains the social order of society, for example, norms, believes, customs, ideas, and symbols which live and develop in Javanese society. Therefore, character education that is from Javanese culture can be a pillar of nation’s character building. Javanese culture that has philosophies can be the guidance of life. The philosophies are the essence of Javanese to do journey to be Javanese. Furthermore, in Javanese philosophies, there are main teaching which in Java it is called by piwulang (wewarah).The important of character education in the early childhood is the education which can be the foundation to develop social skills in the future. This makes a sturdy and strong character education be necessary to be given since the early childhood, so in the future our generation can be strong characters that are excellent as what it has been hoped in the purpose of national education; and it can make the nation stronger to avoid negative influences like corruption. This study is descriptive qualitative research with case study. The locations of the research are in twenty kindergarthens in Purwokerto that have been selected. Data collection technique is done through indepth interview and focus group discussionon selected informants. Those selected informants are chosen using purposive sample method. Data analysis is done using comparative analysis and data interpretation. Finally, the validity is examined with resource triangualtion and method triangulation. In this research, the result is a model on character education based on Javanese philosophy. To help kidergarthen teachers to apply the model, a modul in the form of animation cartoon is created.
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Holcomb, Jeanne, and Kenzie Latham-Mintus. "Disney and Disability: Media Representations of Disability in Disney and Pixar Animated Films." Disability Studies Quarterly 42, no. 1 (August 18, 2022). http://dx.doi.org/10.18061/dsq.v42i1.7054.
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Since the merger of Walt Disney Animation Studios and Pixar Animation Studios, Disney has been lauded for creating more progressive content that includes representations of main characters from diverse backgrounds. However, progressive representations of disability (both physical and mental disability) have been slow to emerge in most mediums. The objective of this research is to examine whether portrayals of illness and disability in recent animated feature films produced by Walt Disney Animation Studios or Pixar Animation Studios depict progressive (or multicultural) narratives of disability versus traditional narratives of disability. We analyzed 20 of the most recent (i.e., 2008-2018) animated films from both studios with 9 films from Walt Disney Animation and 11 films from Pixar Animation Studios. Using thematic content analysis, a combination of pre-identified and emergent disability- and illness-related themes are described. Overwhelmingly, disability portrayals were traditional, with disability used to elicit pity or humor from the viewer and to indicate that characters were evil or old. Out of the 20 films, few progressive portrayals of disability were observed. Although Disney has been lauded for being more inclusive in their representations of characters, disability representations continue to perpetuate and reaffirm the stigmatization of disability.
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Hashim, Mohd Khairuddin. "Creativity, Inc.: Overcoming the Unseen Forces that Stand in the Way of True Inspiration." Journal of the Asian Academy of Applied Business (JAAAB) 3 (December 6, 2017). http://dx.doi.org/10.51200/jaaab.v3i0.970.
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There seems to be little argument that creativity is crucial to the success of any organization. Interestingly, despite years of academic research on the subject, there appears to be also little agreement as to what creativity really is or what the ideal process should be to develop creativity in organizations. Written based on Pixar’s experience, Creativity, Inc. Overcoming the Unseen Forces Stand in the Way of True Inspiration offers not only a concrete example of creativity but also provides an insight into what constitutes creativity and a creative organization. In this book, author Ed Catmull and co-founder of Pixar Animation Studios generously shares and reveals his personal experience not only in dealing with the creative process but also in building and sustaining one of the most successful organization in the world of animation.
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Malarvizhi, D., S. Swetha, K. Navika, and V. Shalyni Devey. "The Evaluation of Animation and Graphics." International Journal of Innovative Science and Research Technology (IJISRT), March 13, 2024, 243–47. http://dx.doi.org/10.38124/ijisrt/ijisrt24mar082.
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From hand drawn sketch to CGI, this journal gives the historical analysis of evolution of animation and graphics in this modern world. Beginning with an exploration of early forms of animation, such as flip books and hand-drawn cell animation, the paper examines key technological advancements that revolutionized the industry, including the development of computer- generated imagery (CGI), 3D animation, and motion capture techniques. Through a historical lens, this study highlights the contributions of pioneers such as Walt Disney, Pixar Animation Studios, and Industrial Light & Magic, whose innovations have shaped the trajectory of animation and graphics over the past century. Furthermore, the article explores the societal and cultural impact of animated media, from its role in entertainment and storytelling to its applications in education, advertising, and virtual reality. By analysing the evolutionary path of animation and graphics, thispaper provides valuable insightsinto the past, present, and future of this dynamic and influential art form.
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Prokhorov, Artem. "The Hero’s Journey and Three Types of Metaphor in Pixar Animation." Metaphor and Symbol, April 29, 2021, 1–12. http://dx.doi.org/10.1080/10926488.2021.1919490.
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Kinasih, Putri Rindu. "THE ANALYSIS OF SARTRE’S ‘ESENSE’ AND ‘SUBJECTIVITY’ IN DISNEY PIXAR’S SOUL ANIMATION." Journal of English Language and Culture 12, no. 1 (November 11, 2021). http://dx.doi.org/10.30813/jelc.v12i1.2673.
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<p>From the start, the philosophical movement that came to be known as existentialism was associated with literature. This possibility happens because there is a natural affinity between existential philosophy and narrative forms of art. On one hand, existentialist concur on the primacy of individual existence, of the lived experience of concrete human beings. On the other hand, cinematic narratives tell stories of beings such as ourselves, helping us to make sense of our existence and opening up probabilities that we might never have pondered otherwise (Shaw, 2017). Interestingly, Time.com stated that Pixar films are the philosophical of the animation world. Here lies the reason why the writer decided to analyze the portrayal of Jean-Paul Sartre’s famous phrase ‘Existence Precedes Essence’ in the latest Disney Pixar animation, Soul. Sartre argued that for human beings, our existence precedes our essence. In addition, Sartre’s notion of ‘existence’ characterized in terms of consciousness, free choice and ‘subjectivity’. For Sartre, the first act of consciousness is to choose. This study shows that Disney Pixar’sSoul does portray Sartre’s ‘existence precedes essence’ through Joe’s life – human beings have no fixed preordained essence or definition. Moreover, Sartre’s idea of consciousness or subjectivity can be seen from 22’s decision to be dared to live.</p>
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"REPRESENTACIONES DE LA VEJEZ EN LOS LARGOMETRAJES ANIMADOS DE PIXAR ANIMATION STUDIOS." Fonseca,Journal of Communication 28, no. 1 (June 23, 2024). http://dx.doi.org/10.48047/fjc.28.01.17.
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