Relevant bibliographies by topics / Walt Disney's CLASSIC

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Academic literature on the topic 'Walt Disney's CLASSIC'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2025

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Journal articles on the topic "Walt Disney's CLASSIC"

1

Johnson, Michelle. "She's Beauty and She's Grace(less): The Mercurial Femininity of the Modern Disney Princess." Congress on Research in Dance Conference Proceedings 2016 (2016): 229–34. http://dx.doi.org/10.1017/cor.2016.31.

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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Di
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Jones, Suneé. "THE EVOLUTION OF A FEMININE STEREOTYPE: WHAT TINKER BELL TEACHES CHILDREN ABOUT GENDER ROLES." Gender Questions 3, no. 1 (2016): 45–61. http://dx.doi.org/10.25159/2412-8457/819.

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Research has shown that some children’s stories may contain subversive cultural messages and that, by consuming them, children are unconsciously socialised and unwittingly influenced to accept cultural norms relating to, among other things, gender roles, race relations, power structures and class distinctions. This process of socialisation is especially effective through the medium of children’s literature, especially those stories that make use of generic elements such as the archetypes found in fairy tales, and the fairy tales re-imagined and produced as films by the Walt Disney Company.
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3

Skowera, Maciej. "Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)." Wielogłos, no. 1 (47) (July 2021): 151–81. http://dx.doi.org/10.4467/2084395xwi.21.007.13582.

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[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fai
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4

Shokorova, A. A. "THE INFLUENCE OF THE WALT DISNEY STUDIO ON THE FORMATION OF SOVIET ANIMATION IN THE MIDDLE OF THE TWENTIETH CENTURY." Topical Issues of Culture, Art, Education 35, no. 1 (2023): 63–69. http://dx.doi.org/10.32340/2949-2912-2023-1-63-69.

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The article discusses the influence of Walt Disney Studios on the development of Soviet animation, which developed in the mid-20th century. The distinctive features of the artistic language of American animation are identified, and the graphic style of Walt Disney Studios is described. The historical stages of the development and formation of animation as a specific type of art in the Soviet Union are analyzed. The main principles and technological techniques for creating graphic animation are described, and the main stylistic directions and genre themes of animated films created by Soviet ani
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5

Rosyid, Dzulfiqar Fickri, and Kankan Kasmana. "A Comparison of the 1940 Animated Pinocchio Movie and Walt Disney Studios' 2022 Live-action Version of Pinocchio Movie." ARTic 6, no. 1 (2023): 581–89. http://dx.doi.org/10.34010/artic.v6i1.10953.

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Pinocchio is one of the popular classics of the Walt Disney animation industry released in 1940, the popularity of the Pinocchio series also prompted the animated film Pinocchio to be adapted into a live-action version in 2022. The movie is based on the classic novel by Carlo Collodi that tells the story of a wooden puppet named Pinocchio who wants to become a human child. There are different scenes from the 1940 version of Pinocchio and the 2022 version of Pinocchio. This adaptation process does bring changes in the meaning content when the story is adapted from animation to live-action. Base
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Calderaro, Monica, and Marta Senesi. "Disney: crime in fairy tales*." Rivista di Psicopatologia Forense, Medicina Legale, Criminologia 22, no. 1-2-3 (2017): 27–30. http://dx.doi.org/10.4081/psyco.2017.10.

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The screen is colored by a celestial sky and begins to outline a castle under whose white gold stands the "Walt Disney Pictures", a semi-crown crown all and the doors of the fantasy are ready to open to the spectators. This is the classic presentation of a Disney Movie that at least once in a lifetime will happen to each of us to attend and accompany the childhood of millions of children. But what is waiting behind that castle? Charming spells and sparks of magic? Absolutely. Princesses to save and charming princes to dream? Absolutely yes. Speaking animals and an Never Land? All this and much
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7

Krasnova, Nataliia. "Facilitation as an interactive method of training future social workers." Social pedagogy: theory and practice, no. 4 (2024): 132–38. https://doi.org/10.12958/1817-3764-2024-4-132-138.

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The article considers the method of facilitation in the context of professional training of future social workers, which is focused on the development of professional competencies. Facilitation is defined as the process of organizing collective problem solving in a group, where the facilitator is engaged in planning, directing and coordinating the work of the group, adhering to a neutral position and creating conditions for achieving effective results. Various facilitation techniques are outlined, which have their own functionality and methods of stimulating the creative thinking of participan
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8

Flynn, Catherine. "FRANK GEHRY AND …(IPHIGENIA): SET DESIGN AND CONSTRUCTIVE FORM." Ramus 52, no. 1 (2023): 30–35. http://dx.doi.org/10.1017/rmu.2023.4.

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‘Music is mass and it builds things’, esperanza spalding said she dreamt one night as she struggled with the libretto for …(Iphigenia), the phrase forming the turning point for the work. The oneiric formulation extends the material nature of music, granting sonic vibrations architectural abilities. This paradox approaches a paradoxical aim at the heart of Frank Gehry's building practice: to imbue solid matter with motion. His free-form sculptural designs, instanced most famously in the spectacular designs for the Guggenheim Museum at Bilbao and the Walt Disney Concert Hall in Los Angeles, have
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9

Oktavian, Nurrisda Hermin, Elga Lauris Zabrina, and Nanda Shabrina Alisya. "Re-Alice: Reimagination of Carroll’s Alice in Wonderland into Animation and Live Action." SULUK: Jurnal Bahasa, Sastra, dan Budaya 6, no. 2 (2024): 146–60. https://doi.org/10.15642/suluk.2024.6.2.146-160.

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Walt Disney Pictures has adapted several famous animated cartoons into live-action films in recent years, including Alice in Wonderland. The film is based on Lewis Carroll's classic novel, which tells the story of Alice's adventures in Wonderland. The adaptation process brought several changes in the form of the latest story. This study uses a qualitative descriptive method to investigate and examine the reimagination markers and reimagination functions from the animated film Alice in Wonderland (1951) to the live-action version (2010). This study utilizes the reimagination theory of Purnomo e
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Padilla-Santamaría, Fernando. "Los derechos de autor en los cuentos y las leyendas." Revista Cadena de Cerebros 1, no. 4 (2017): 28–30. https://doi.org/10.5281/zenodo.3903648.

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<strong>RESUMEN</strong> Los cuentos y las leyendas son obras de gran importancia para la cultura de todas las regiones del mundo, ya que estas hacen posible la preservaci&oacute;n de una parte de la historia de cada pueblo y ciudad. La naturaleza de estas obras hace que pasen de boca en boca y de libro el libro por muchas generaciones y, es por esta raz&oacute;n que en la mayor&iacute;a de los casos los autores son desconocidos, por ejemplo: en M&eacute;xico, la leyenda de &ldquo;la Llorona&rdquo; es de las m&aacute;s populares y famosas, tanto que incluso en el 2011 se estren&oacute; la pel&
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Books on the topic "Walt Disney's CLASSIC"

1

Disney, Walt. Walt Disney's classic storybook. Disney Press, 2009.

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2

Coco, Eugene Bradley. Walt Disney's Classic Pinocchio. Golden Press / Western Publishing Company, 1991.

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Productions, Walt Disney. Walt Disney's classic Cinderella. Western Pub. Co., 1991.

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Slater, Teddy. Walt Disney's classic Dumbo. Western Pub. Co., 1991.

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5

1901-1966, Disney Walt, ed. Walt Disney's classic storybook. Disney Press, 2001.

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6

Little, Jean. Walt Disney's classic 101 dalmatians. Western Pub. Co., 1992.

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7

Dias, Ron. Walt Disney's classic Sleeping Beauty. Golden Book, 1991.

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8

Productions, Walt Disney. Walt Disney's classic 101 dalmatians. Western Pub., 1991.

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9

Little, Jean. Walt Disney's classic 101 Dalmatians. Western Pub. Co., 1991.

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10

Coco, Eugene Bradley. Walt Disney's classic Peter Pan. Western Pub. Co., 1992.

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Book chapters on the topic "Walt Disney's CLASSIC"

1

Williams, Rebecca. "Replacing and Remembering Rides : Ontological Security, Authenticity and Online Memorialization." In Theme Park Fandom. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462982574_ch08.

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Drawing on Anthony Giddens’ idea of ontological security, this chapter considers fan reactions when favourite rides are closed or replaced. First it explores fan responses to the closure of the Maelstrom ride at Walt Disney World’s EPCOT Park which was replaced by attractions based on the animated film Frozen and how opposition was linked to the importance of ‘classic attractions’ to the park’s history and Disney’s brand, and a desire to remain ‘true to’ EPCOT’s original emphasis upon education. Second, the chapter looks at how Disney’s abandoned River Country Water Park in Florida has offered
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2

Arsenault, Raymond. "Playing with History." In The Long Civil War. University Press of Kentucky, 2021. http://dx.doi.org/10.5810/kentucky/9780813181301.003.0011.

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In “Playing with History: Walt Disney's Historical Films, 1946-66,” Raymond Arsenault traces the pioneer animator's historical filmmaking from the 1940s until the 1960s, a period when he became one of the “the world's most powerful culture brokers.” Committed to advocacy, not to constructing historically accurate, contextualized narratives, Disney disseminated and reinforced nostalgic images and traditional values popular in Cold War America. In what Arsenault terms “a Disneyfied version of American history,” the filmmaker scrupulously avoided controversial questions pertaining to class, pover
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3

Uher, Valerie. "Fantasia (1940)." In Routledge Encyclopedia of Modernism. Routledge, 2024. http://dx.doi.org/10.4324/9780415249126-rem2141-1.

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Fantasia is an animated American film produced by Walt Disney. The film consists of eight animated segments, of which ‘The Sorcerer’s Apprentice’ is the most famous one. Apart from ‘The Sorcerer’s Apprentice,’ all segments of the film are set to the music of well-known Western classical composers, performed by the Philadelphia Orchestra and conducted by Leopold Stokowski. Live action introductions by composer and music critic Deems Taylor link each segment. Fantasia was the first film to utilise stereophonic sound, referred to by Disney as ‘Fantasound’. In bringing together high art (classical
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