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

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2025

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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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2

Jones, SuneÃ©. "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 childrenâ€™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 childrenâ€™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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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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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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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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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 preservación 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 razón que en la mayoría de los casos los autores son desconocidos, por ejemplo: en México, la leyenda de “la Llorona” es de las más populares y famosas, tanto que incluso en el 2011 se estrenó la pel&

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Fanani, Fajriannoor. "KONSENTRASI DAN INTEGRASI KEPEMILIKAN PADA INDUSTRI MEDIA INTERNASIONAL DALAM PERANG FORMAT HIGH DEFINITION OPTICAL DISK." Jurnal The Messenger 4, no. 1 (2016): 16. http://dx.doi.org/10.26623/themessenger.v4i1.273.

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<p><em>High definition technology development in the entertainment industry, especially film industry, has produce classic problem about format consensus in the media industry. This situation eventually creates the so called “war of format” between the two most popular high definition formats, the Blu-ray from Sony/Hitachi and the HD DVD from Toshiba. Unlike the war of format before, for example is VHS versus Betamax war, that determinated mostly by the consumer, the format war between Blu-ray and HD DVD is strongly affect by the abilities of the companies behind the two format to

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12

Monleón, Vicente. ""PRINCESITAS” CON DIVERSIDAD FUNCIONAL UNA APROXIMACIÓN CRÍTICA A LA OPRESIÓN DE REALEZA FEMENINA EN LA COLECCIÓN CINEMATOGRÁFICA “LOS CLÁSICOS” WALT DISNEY (1937-2016) Y EL CONTRA-DISCURSO CREADO POR LA OBRA ARTÍSTICA DE ALEXSANDRO PALOMBO / “LITTLE PRINCESSES” WITH FUNCTIONAL DIVERSITY. A CRITICAL APPROACH TO THE OPPRESSION OF FEMALE ROYALTY IN THE WALT DISNEY (1937-3016) “THE CLASSICS” FILM COLLECTION AND THE COUNTER-DISCOURSE CREATED BY THE ARTISTIC WORK OF ALEXSANDRO PALOMBO." ARTSEDUCA. Revista electrónica de educación en las Artes, no. 26 (2020): 46–59. http://dx.doi.org/10.6035/artseduca.2020.26.4.

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13

"Walt Disney's Silly Symphonies: a companion to the classic cartoon series." Choice Reviews Online 45, no. 05 (2008): 45–2511. http://dx.doi.org/10.5860/choice.45-2511.

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14

Bertinetto, Alessandro. "Walt Alighieri. Comix, Commedia, Mixed Media." Itinera, no. 24 (January 26, 2023). http://dx.doi.org/10.54103/2039-9251/19752.

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In this contribution, I discuss the status of comics particularly through the exemplification of Disney’s Dante parodies, in light of some ideas I take in from aestheticological reflection on improvisational art practices. In particular, L’Inferno di Topolino, the first of the great Italian Disney parodies, is paradigmatic for understanding the character of comics as a metafinational hybrid transmedium, capable of appropriating the contents of literary classics, bringing them to life in relation to the contemporary situation.

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15

McDermott, Brenda. "Stars versus Rainbows: Walt Disneyâ€™s and Jim Hensonâ€™s â€œPhilosophies of Childhoodâ€." Stream: Interdisciplinary Journal of Communication 2, no. 1 (2009). http://dx.doi.org/10.21810/strm.v2i1.37.

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The television special The Muppets go to Walt Disney World (1990) provides an unique opportunity to discuss the differences between two influential producers of childrenâ€™s media culture, Jim Henson and Walt Disney. Several scholars highlight distinctive differences between Disney and Hensonâ€™s products, including Jack Zipes. The film was created both as promotional material for the park and the new Muppet 3D adventure ride; it also marked the merger of Jim Henson Productions within the Walt Disney Corporation. With the sudden death of Henson, the deal was called off. The special still demon

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16

Maiden, Stephen, Case Writer, Gerry Yemen, Elliott N. Weiss, and Oliver Wight. "The Walt Disney Company: Mickey Mouse Visits Shanghai." Darden Business Publishing Cases, February 10, 2016, 1–11. http://dx.doi.org/10.1108/case.darden.2021.000022.

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The strategic and tactical problems of managing the operations function in a service environment can be examined through the context of the Walt Disney Company (DIS) opening Shanghai Disneyland. The company and its investors were excited about the Shanghai opening for a good reason: demographics. The resort would be located in the Pudong district of Shanghai, easily the wealthiest of all of China’s districts. A massive 330 million people lived with a three-hour driving radius of the resort site, compared with 19.6 million who lived within the same radius at DIS’s most profitable park, Walt Dis

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17

"Review: Walt Disney’s Silly Symphonies: A Companion to the Classic Cartoon Series. By Russell Merritt and J. B. Kaufman." Film Quarterly 62, no. 3 (2009): 82. http://dx.doi.org/10.1525/fq.2009.62.3.82.

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18

Menise, Tatjana. "Fairy tales between transformation and repetition: How audiences rethink the big romantic myth through Disney princess stories." Sign Systems Studies 47, no. 3/4 (2020). http://dx.doi.org/10.12697/sss.2019.47.3-4.08.

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One of the ways in which culture becomes enriched is through reconsideration and reinterpretation of well-known stories, and classic fairy tales provide promising material for investigation of the nature of this complex process. The Walt Disney Company is among the most powerful tellers of classic tales, its line of princess animations being an example of simultaneous development and preservation of the fairy-tale phenomenon in a changing cultural context. We analyse the dialogue among classic and modern princess stories and the discussions that these stories give rise to in English-lang

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19

Maria, Faustyna Gilewicz. "Disney – animacja a musical filmowy. Zmiany w kreacji damskich postaci na podstawie Aladyna." September 30, 2023. https://doi.org/10.5281/zenodo.8395098.

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Disney – animation versus the musical film. Changes in the creation of female characters based on Aladdin  Maria Faustyna Gilewicz, in the chapter Disney animation vs. the movie musical. Changes in the creation of female characters based on Aladdin presents a comparative analysis of the animation (1992) and live action film (2019) Aladdin. In recent years, the Walt Disney Studio has made major changes in the creation of female characters. Two clear trends are noticeable. New animations are being created, in which the main roles are played by modern characters that differ in ima

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20

Thomas, Brennan. "The Transformative Magic of Education in Walt Disney’s <em>The Sword in the Stone</em>." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2993.

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Introduction The Disney brand has become synonymous with magic through its numerous depictions of spells, curses, prophecies, and pixie dust. Thus, it is ironic that in 2023, the 100th anniversary of the Walt Disney Studio’s founding (“Disney History”), the final film released during Walt Disney’s life, The Sword in the Stone (celebrating its 60th anniversary) remains stuck in obscurity (Aronstein 129) despite being steeped in magic and wizardry. The Sword in the Stone is regarded as “one of the most obscure [films] in the Disney animated canon” (Booker 38). Although it performed moderately we

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KARAŞAHİNOĞLU, Şadi, and Ahmet DÖNMEZ. "ANİMASYON YAPIMLARDA GÖRSEL KİMLİK TASARIMI: BATMAN SERİSİ ÖRNEĞİ (1992-1995)." Turkish Online Journal of Design Art and Communication, March 9, 2024. http://dx.doi.org/10.7456/tojdac.1419402.

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Animated series for television have a long history. The first animation experiments began with short cartoons produced for the cinema in the 1920s and 1930s. However, it took a little longer for animation to become widespread and popular in the television environment. The 1950s and 1960s were the periods when animation became widespread on the television platform as television entered homes. During this period, Walt Disney, Warner Bros. Studios such as Hanna-Barbera and Hanna-Barbera began to present various animated series to television audiences; Especially the series produced by the Hanna-B

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Piatti-Farnell, Lorna, and Angelique Nairn. "The Magic of Media and Culture." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.3018.

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The Magic of Media and Culture In his book The History of Magic (2020), Chris Gosden contends that magic is a product of human connection with the universe, offering answers to questions of meaning and reality, and surviving for centuries because of its capacity for constant renewal. Furthermore, magic has been, and continues to be, tied to the activities and beliefs of a myriad of cultural groups, guiding their understandings of, for example, transcendence, transformation, and transactions – cultural, social, political, or otherwise. Yet, despite magic accounting for any extraordinary occurre

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23

Hawley, Erin. "Re-imagining Horror in Children's Animated Film." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1033.

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Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assume

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Graves, Tom. "Something Happened on the Way to the ©." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2155.

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Intellectual property. It's a strange term, indicating from its structure that the questionable notion of property has been appended to something that, in a tangible sense, doesn't even exist. Difficult to grasp, like water, or air, yet at the same time so desirable to own... In Anglo-American law, property is defined, as the eighteenth-century jurist Sir William Blackstone put it, as "that sole and despotic dominion which one man claims and exercises over the external things of the world, in total exclusion of the right of any other individual in the universe" (Terry & Guigni 207). For mo

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25

Davies, Elizabeth. "Bayonetta: A Journey through Time and Space." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1147.

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Art Imitating ArtThis article discusses the global, historical and literary references that are present in the video game franchise Bayonetta. In particular, references to Dante’s Divine Comedy, the works of Dr John Dee, and European traditions of witchcraft are examined. Bayonetta is modern in the sense that she is a woman of the world. Her character shows how history and literature may be used, re-used, and evolve into new formats, and how modern games travel abroad through time and space.Drawing creative inspiration from other works is nothing new. Ideas and themes, art and literature are f

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Brien, Donna Lee. "The Real Filth in American Psycho." M/C Journal 9, no. 5 (2006). http://dx.doi.org/10.5204/mcj.2657.

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   1991 An afternoon in late 1991 found me on a Sydney bus reading Brett Easton Ellis’ American Psycho (1991). A disembarking passenger paused at my side and, as I glanced up, hissed, ‘I don’t know how you can read that filth’. As she continued to make her way to the front of the vehicle, I was as stunned as if she had struck me physically. There was real vehemence in both her words and how they were delivered, and I can still see her eyes squeezing into slits as she hesitated while curling her mouth around that final angry word: ‘filth’. Now, almost fifteen years later, the

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27

Semi, Giovanni. "Zones of Authentic Pleasure: Gentrification, Middle Class Taste and Place Making in Milan." M/C Journal 14, no. 5 (2011). http://dx.doi.org/10.5204/mcj.427.

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Introduction: At the Crossroad Well, I’ve been an important pawn [in regeneration], for instance, changing doors and windows, enlarging them, eliminating shutters and thus having big open windows, light […] Then came the florist, through a common friend, who was the second huge pawn who trusted in this […] then came the pastry shop. (Alberto, 54, shop owner). Alberto is the owner of Pleasure Factory, one of two upmarket restaurants in a gentrifying crossroads area in northern Milan. He started buying apartments and empty stores in the 1980s, later becoming property manager of the building wher

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Lerner, Miriam Nathan. "Narrative Function of Deafness and Deaf Characters in Film." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.260.

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Introduction Films with deaf characters often do not focus on the condition of deafness at all. Rather, the characters seem to satisfy a role in the story that either furthers the plot or the audience’s understanding of other hearing characters. The deaf characters can be symbolic, for example as a metaphor for isolation representative of ‘those without a voice’ in a society. The deaf characters’ misunderstanding of auditory cues can lead to comic circumstances, and their knowledge can save them in the case of perilous ones. Sign language, because of its unique linguistic properties and its la

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