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Journal articles on the topic 'Walt Disney Animation Studios (Firm)'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

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

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Kristanti, Vanda, and Ira Maisarah. "Analysis of Moral Values In Walt Disney Pictures and Pixar Animation Studios' Luca." Journal of English for Specific Purposes in Indonesia 2, no. 1 (2023): 53–58. http://dx.doi.org/10.33369/espindonesia.v1i2.26089.

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This research discusses the analysis of moral values in the animated show "Luca". The purpose of this study was to find out the moral value contained in the animated show "Luca" Produced by Walt Disney Pictures and Pixar Animation Studios. This research was carried out based on a qualitative approach that resulted in descriptive using the semiotic approach of Roland Barthes's theory. The data sources used in this study are primary data sources and secondary data sources. Data collection techniques through documentation to find research data through scenes (film scripts, images, or films) from

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Nurul Aini, Riska, and Wiwid Adiyanto. "Resepsi Maskulinitas Perempuan Di Film Raya And The Last Dragon." Linimasa : Jurnal Ilmu Komunikasi 8, no. 1 (2025): 74–90. https://doi.org/10.23969/linimasa.v8i1.13173.

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Earlier Disney films tended to portray women as weak or cunning. Disney has also been criticized for its depiction of mental health in the animation. Raya and The Last Dragon is the latest film from Walt Disney Animation Studios with an action adventure genre released on March 3, 2021. Raya and The Last Dragon is the first film that focuses on Southeast Asian culture. This study aims to describe audience reception related to female masculinity in the film Raya and the Last Dragon. This research refers to the interpretive paradigm. This study places the reception method proposed by Stuart Hall

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Kornatsky, Nikolay N. "Disney studio in 1975: Fyodor Khitruk reports." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 146–66. http://dx.doi.org/10.35852/2588-0144-2023-1-146-166.

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For the first time, the article introduces Fyodor Khitruk’s report about his business trip to the USA in the autumn of 1975. In this document from RGALI, a well-known Soviet director tells in detail about his work on the jury of the 3rd New York Animation Festival (among the winners of the festival was Yuri Norstein’s animated film, The Heron and the Crane), as well as visiting the studios — Walt Disney Productions and Hanna-Barbera. A significant part of the document is devoted to the analysis of a production organization — this issue was of particular interest to Soviet animators, who at tha

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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 (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,

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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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Patzner, Claire. "“The World is Cursed”: Studio Ghibli’s Radical Environmental Philosophy." Linguaculture 15, no. 2 (2024): 151–74. https://doi.org/10.47743/lincu-2024-2-0364.

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Film critics and academics have praised Studio Ghibli for its films’ bold and upfront depictions of war, the Anthropocene, and human consumption. In contrast to American major animation studios who may only touch upon these issues thematically or allegorically to appeal to the masses, the Japanese filmmakers at Studio Ghibli are unafraid to continuously and directly depict war and human greed. This paper focuses on Studio Ghibli’s ecocritical depictions compared to its American Hollywood animated counterparts, such as Walt Disney Studios, Pixar Animation Studios, and DreamWorks Pictures. Altho

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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 (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 pe

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Fonneland, Trude. "Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency." Religions 11, no. 9 (2020): 430. http://dx.doi.org/10.3390/rel11090430.

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This paper explores the religion-making potential of a particular secular institution, namely the Walt Disney Studios. Focusing on the animation film Frozen II that was launched in November 2019, the current article enters into debates about the manner in which indigenous religion is part of the commodity presented—how religion is produced, packaged, and staged. In the article I argue that contemporary media-scapes can be seen as agents of religion-making, of religious circulation, and renewal. As such, religion, as it is expressed in Frozen II, is outlined and produced by a particular media-f

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Teodoro da Silva Junior, Mário Sérgio. "Formas da expressão animatorial: o sentido dos movimentos na animação Disney / Forms of animatorial expression: the meaning of motion in Disney animation." Texto Livre: Linguagem e Tecnologia 10, no. 2 (2017): 220–39. http://dx.doi.org/10.17851/1983-3652.10.2.220-239.

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RESUMO: O presente artigo tem por objetivo explorar, dentro da perspectiva da semiótica discursiva, alguns conceitos de desenho animado, utilizados há longa data na produção de filmes de animação dos estúdios da Walt Disney, explicitados em Frank Thomas e Ollie Johnston (1981). Queremos compreender em que medida a composição das imagens em movimento – que é, em essência, a própria forma do movimento – produz sentido, configurando-se como signo, com significante e significado próprios. À luz do percurso gerativo de sentido, focando-se na dimensão semio-narrativa (GREIMAS; COURTÉS, 2013) e na se

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Anis Yulya and Faninda Novika Pertiwi. "Wujud Penanaman Sikap Cinta Lingkungan dalam Film Animasi Wall-e Sutradara Andrew." AL-THIFL : Jurnal Ilmiah Pendidikan Guru Madrasah Ibtidaiyah 4, no. 1 (2024): 572–97. http://dx.doi.org/10.21154/thifl.v4i1.3922.

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Lingkungan memiliki peran yang sangat penting bagi keberlangsungan manusia. Zaman sekarang banyak masyarakat kurang sadar pentingnya menjaga lingkungan. Jika setiap individu tidak peduli terhadap lingkungan sama saja mereka tidak peduli dengan kelangsungan hidup mereka kedepannya. Lingkungan yang tidak dijaga dan dimanfaatkan sesuai kebutuhan lama kelamaan akan mengalami kerusakan dan generasi penerus akan mendapatkan dampak yang kurang baik. Wall-E merupakan film animasi yang diproduksi oleh Pixar Animation Studios dirilis oleh Walt Disney Pictures. Peneliti meneliti film ini untuk menganalis

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Iwan Muhammad Ridwan, Iwan. "ANALISIS SINEMATIK DAN NARASI VISUAL FILM ANIMASI “RAYA AND THE LAST DRAGON”." JURNAL Dasarrupa: Desain dan Seni Rupa 5, no. 2 (2024): 31–37. http://dx.doi.org/10.52005/dasarrupa.v5i2.150.

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Raya and the Last Dragon is an animated film produced by Walt Disney Animation Studios with the storyline of Raya's adventures as the main character in an imaginary country called Kumandra. This animated film has a cultural style and local identity that is identical to Southeast Asian culture, including Indonesian culture. It is these cultural identities and symbols that encourage this research. Through a descriptive analysis method, the meaning of symbols or cultural identities contained in the visual and cinematic narratives of the animated film Raya and the Last Dragon will be explained bas

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Rahmah, Ananda Zulfatya, and Muhammad Hafiz Kurniawan. "Negotiation Analysis of “Raya and The Last Dragon” Disney Movie." Scope : Journal of English Language Teaching 9, no. 2 (2025): 837. https://doi.org/10.30998/scope.v9i2.25852.

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<p>Movie as a medium of storytelling offers a rich tapestry for examining the interplay between language and non-verbal communication. The researcher analyzed ‘Raya and The Last Dragon’ Movie; an animated film produced by Walt Disney Animation Studios in 2021 which told about one last dragon which can bring back the harmony and balance to the degraded environment. This study aims to investigate clause-based speech functions and to reveal how minor and paralanguage have a significant role in the movie ‘Raya and The Last Dragon’. This research used qualitative descriptive method as a resea

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Yahya, Wirda Humaira, and Mahi M. Hikmat. "RESISTANCE TO STEREOTYPES AND DISCRIMINATION IN ZOOTOPIA (2016)." Paramasastra 11, no. 2 (2024): 257–76. https://doi.org/10.26740/paramasastra.v11n2.p257-276.

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Zootopia is an animated film released in 2016 by Walt Disney Animation Studios. This movie not only offers entertainment for various audiences, but also conveys a deep social message about resistance to stereotypes and discrimination. This study uses narrative theory. Todorov (1971) put forward the concept of "equilibrium-disequilibrium-new equilibrium" in narrative structure, which suggests that the story begins in a state of equilibrium, experiences disruption, and finally returns to a new equilibrium. The research method used is a qualitative descriptive approach. The primary data used in t

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Neumaier, Stefanie. "Disney+. „If you can dream it, you can do it“." merz | medien + erziehung 64, no. 3 (2020): 83–84. http://dx.doi.org/10.21240/merz/2020.3.18.

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The Walt Disney Company (2020). Disney+. App u. a. für iOS, Android und Windows. Als monatlich kündbares Abonnement 6,99 € monatlich bzw. 69,99 € jährlich. Willkommen am magischsten Ort der Welt. Hier werden (nicht nur) Kinderträume wahr: Kaum zurück aus den unzähligen Abenteuern von Jack Sparrow und seiner Crew, schwingt im nächsten Augenblick bereits ein*e Jedi-Meister*in sein*ihr Lichtschwert im Kampf gegen das Imperium. Und auch der süße Honigfanatiker Winnie Puuh ist mit von der Partie, wenn nicht gerade Wolverine ein paar Schurken mithilfe seiner X-MEN zur Strecke bringt oder Hannah Mont

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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

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Purwanto, Atmi Maharani, and Muhammad Hafiz Kurniawan. "NAMAARI POWER IN RAYA AND THE LAST DRAGON MOVIE: MULTIMODAL DISCOURSE ANALYSIS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 8, no. 1 (2024): 211–21. http://dx.doi.org/10.30743/ll.v8i1.9159.

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Raya and the Last Dragon is a popular animated film from Walt Disney Animation Studios, featuring an antagonist named Namaari. This study aims to examine the interactive meaning of a particular scene and determine the representation of power by Namaari as the female antagonist character during the orientation stage, specifically from minute 0:11:54 to 0:16:37. To identify the representation of Namaari in the movie, a combination of verbal and non-verbal modes is analyzed. This research employs a descriptive qualitative method, utilizing Kress and van Leeuwen’s visual grammar theory to investig

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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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Pizolati, Audrei. "SOUL." Revista Livre de Cinema 10, no. 4 (2024): 164–69. https://doi.org/10.5281/zenodo.10464916.

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Kim, Soyoung, and Christian Gregory. "Indigenously Doing Disney." INContext: Studies in Translation and Interculturalism 3, no. 2 (2023): 71–93. http://dx.doi.org/10.54754/incontext.v3i2.68.

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In its hundred-year history, the Walt Disney Company has created multiple projects featuring characters from various minorities and indigenous groups. The purpose of this essay is to examine the later films of Walt Disney Animation Studios, beginning in the often-dubbed “Disney Renaissance” with Pocahontas and concluding with Frozen II, and analyze the portrayal of the native groups being featured within the narrative. Beyond this, the secondary aim of this paper is to determine whether or not any significant development has been made in said depictions in the studio’s projects, both as it per

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Bingöl, Hami Onur. "THE FICTIONAL FEMALE CHARACTERS OF WALT DISNEY IN THE CONTEXT OF CHARACTER DESIGN." Turkish Online Journal of Design Art and Communication 15, no. 3 (2025): 615–25. https://doi.org/10.7456/tojdac.1671005.

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In the United States, the production of cartoons and animation as an indus-trial process dates back to the 1930s. Cartoons produced until this period were generally short and had limited narrative time. The introduction of feature-length productions led to significant changes in the character de-sign process for animators. The extension of the narrative allowed for the exploration of new dimensions in the structural forms and design stages of fictional characters. During this phase, Walt Disney Studios utilized refer-ence images in character design and divided the production stages of ani-mati

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Lorenzo Hernández, María. "Un "rigger" español en Disney: Iker J. De los Mozos." Con A de animación, no. 3 (February 18, 2013): 48. http://dx.doi.org/10.4995/caa.2013.1421.

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Iker De los Mozos es un animador especializadoen la construcción y articulación de personajes3D, que en la actualidad trabaja en Walt DisneyAnimation Studios. Ha trabajado en Londres paracompañías como Nexus Productions y The Mill,donde ejerció como “rigger” en varios anunciospara cine y televisión. Anteriormente trabajó comosupervisor de “rigging” en Kandor Graphics parala película Justin y la espada del valor (Manuel Sicilia,2013) y cosechó dos Goyas con La dama y lamuerte (Javier Recio, 2010) y El lince perdido (ManuelSicilia, Raúl García, 2009). Su primer proyectocomo “rigger” profesional

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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+ s

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Bueno, Lunielle de Brito Santos. "A representação das mulheres e as discussões de gênero nas animações da Walt Disney." Domínios da Imagem 12, no. 23 (2018): 97. http://dx.doi.org/10.5433/2237-9126.2018v12n23p97.

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O presente artigo tem por objetivo compreender as representações das mulheres em duas animações da Walt Disney Animation Studios, a saber, Branca de Neve e os Sete Anões, de 1937 e Mulan, de 1998. A partir de duas narrativas distintas, em contextos sociopolíticos e de produção diferenciados, procuramos compreender quais discursos são propagados pelas narrativas fílmicas. Ademais, buscamos relacionar tais discursos com mudanças ligadas à História das Mulheres e às discussões de gênero que avançam exponencialmente desde a década de 1980 no campo historiográfico.

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Zhu, Xingyu. "Use SWOT to Analyze and Study the Enterprise of Disney." BCP Business & Management 34 (December 14, 2022): 48–52. http://dx.doi.org/10.54691/bcpbm.v34i.2863.

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The firm I am researching is a diverse global media corporation located in Walt Disney's Burbank Studios in Los Angeles, California, USA. SWOT analysis was used to research the Disney Company. During my investigation on the Disney Company, I discovered that around the start of the pandemic, the whole economic curve of the Disney Company collapsed, including total assets and earnings. However, due to the sluggish development of internet company, after adopting to the new strategy, it has gradually ushered in a pretty decent momentum, and its income has steadily returned over the last two years.

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Indraswari, Erika Dignitya. "Kiat Belajar Sistem Gerak Karakter Animasi." Humaniora 3, no. 2 (2012): 549. http://dx.doi.org/10.21512/humaniora.v3i2.3398.

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Every animator has a different way of planning to make animated characters motion system. Planning makes animation can be done by making the timing including with the drawing motion pose options on the character, making self-video recording contained own acting choices, and studying references in accordance with the animation that will be created. Creating animated characters requires skills in image selection, acting, and timing. Before going through the process of making animation, an animator must know and understand the characters and situations in a scene. Every movement and action should

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Garcia, Rafael Marques, Alan Camargo Silva, and Erik Giuseppe Barbosa Pereira. "As representações de corpo, gênero e masculinidades no filme “Hércules”." Revista Internacional Interdisciplinar INTERthesis 16, no. 2 (2019): 19–36. http://dx.doi.org/10.5007/1807-1384.2019v16n2p19.

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O filme “Hércules”, de Walt Disney Animation Studios, retrata o percurso deste herói grego para retornar ao Monte Olimpo, morada dos deuses, de onde foi tomado quando criança. Embora lançado originalmente em 1997, foi relançado em Blu-ray em 2014 e retransmitido pela Cinemark no Brasil em 2017, o que demonstra sua atualidade no trato de assuntos pertinentes aos estudos do universo do corpo. No presente trabalho, por meio da análise fílmica, objetivamos compreender as representações sobre corpo e gênero empregados no filme. Identificamos durante a trama diversos ícones e mensagens acerca de cor

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Park, Seong-Ho. "A Study on the Formation of Cultural Gene Memes : Focusing on Walt Disney Animation Studios." Journal of Innovation Industry Technology 3, no. 1 (2025): 41–46. https://doi.org/10.60032/jiit.2025.3.1.41.

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Valverde Maestre, Águeda María. "El diseño gráfico de Saul Bass en el universo de Disney." ASRI. Arte y Sociedad. Revista de Investigación en Artes y Humanidad digitales., no. 26 (December 31, 2024): 18–34. https://doi.org/10.33732/asri.6802.

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Además de recoger la evolución del lenguaje cinematográfico, las secuencias de título permiten conocer el estilo de sus respectivos directores, productoras y artistas gráficos. Estas “microestructuras” (Zunzunegui, 2016) son capaces de anticipar las claves narrativas de la obra audiovisual a la que acompañan e, incluso, convertirse en producciones audiovisuales con una imagen corporativa y sentido propios. La siguiente investigación relaciona las características estilísticas, narrativas y discursivas de Saul Bass, uno de los diseñadores gráficos más célebres de la historia, con la cabecera la

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Muljadi, Hianly. "Discrimination in Zootopia: A critical reading." EduLite: Journal of English Education, Literature and Culture 4, no. 2 (2019): 236. http://dx.doi.org/10.30659/e.4.2.236-246.

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This research is an analysis of an animation movie by Walt Disney Animation Studios entitled Zootopia. The story of Zootopia, just like other animation movies which can be generalized as intended for children. It contains a positive message which can be seen from the tagline of this movie; “This is Zootopia. Anyone can be Anything”. However, this research tries ascertaining the opposite as it can be seen that the message of the movie is not entirely true. It is under descriptively qualitative method supported by the Theory of Deconstruction as a framework -- that a text can betray itself and t

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Allen, David. "Dalí, Disney and Destino: Alchemy in Animation." Text Matters, no. 10 (November 24, 2020): 49–66. http://dx.doi.org/10.18778/2083-2931.10.03.

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Salvador Dalí claimed that he made his whole life “a work of alchemy.” He saw in alchemy the principle of metamorphosis and “the transmutation of bodies.” Carl Jung recognized “imaginatio” as the key to alchemy. As Patrick Harpur suggests: “The Work takes place in a realm intermediate between mind and matter. It is a daimonic process, a ‘chemical theatre’ in which processes and psychic transformations interpenetrate.” The alchemist does not simply work on matter, but on the self. In Dalí’s “paranoiac-critical method,” objects similarly seem to exist in an “intermediate realm between mind

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Chashkina, Lyudmila Yu. "Influence of Walt Disney’s Work on Soviet Cartoons." Observatory of Culture 21, no. 5 (2024): 552–59. http://dx.doi.org/10.25281/2072-3156-2024-21-5-552-559.

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In the mid-1930s, Walt Disney’s cartoon characters conquered screens all over the world. The Soviet Union was not spared from this fascination. Despite the fact that Soviet animation took its first steps in the mid-1920s and by the time of the Disney craze already had several successful films (e.g., “The Rink”, “The Post Office”, “Black and White”), domestic cartoonists fell under the “Disney hypnosis”. This leads to active borrowing of Disney methods, imitation of the performing manner, copying characters. At the newly established studio “Soyuzmultfilm” with the approval of high film bosses b

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Ruiz Rodríguez, Zennia Berenice, and José De Jesús Flores Figueroa. "El mito de la caída de Lucifer y su representación en los villanos de las películas animadas de Walt Disney." La Colmena, no. 123 (September 18, 2024): 91. http://dx.doi.org/10.36677/lacolmena.v0i123.22765.

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Se analiza a los antagonistas de la industria de Walt Disney Animation Studios mediante una visión hermenéutica sobre el mito de la caída de Lucifer. Se retoma cómo dicha figura es representada en los personajes de las animaciones desde su diseño y narrativa. Por ello, se estudia el mito desde sus orígenes, además de indagar en el recorrido histórico de la compañía de animación para comprender los cambios realizados en los personajes según su contexto. Una vez revisados los temas se presenta una propuesta de análisis dividida en siete etapas, donde Lucifer: 1) existe primero como figura de aut

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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 (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 essentia

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Tawakkal, Afifah Ibna Fatina, Agnes Tasya Monix, and Emirson Watani. "Semiotic Analysis of Moral Messages in Animated Film Raya and The Last Dragon." NOTION: Journal of Linguistics, Literature, and Culture 3, no. 2 (2021): 105–11. http://dx.doi.org/10.12928/notion.v3i2.4798.

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Raya and The Last Dragon is the latest computer-animated film from Walt Disney Pictures and Walt Disney Animation Studio. This animated film, directed by Don Hall and Carlos Lopez, tells the story of the adventures of a woman named Raya in saving the world. This journal article aims to analyze and describe the moral messages contained in the film Raya and The Last Dragon. This research uses qualitative methods, with Roland Barthes semiotics analysis approach, so that ultimately obtained the results of research on what moral messages contained in every dialogue spoken by each character such as

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Merdeka, Pijar Hatinurani. "Representation Of Feminism In Disney Brave Film." Journal of Literature Language and Academic Studies 2, no. 01 (2023): 10–14. https://doi.org/10.56855/jllans.v2i1.279.

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This research was conducted to find out how the representation of women's feminism is shown in the film Brave. Brave is an animated princess-themed film created by Pixar Animation Studio and Walt Disney Pictures. This type of research is descriptive qualitative using Vladimir Propp's narrative analysis method. The subject of this research is the film Brave which is seen from its narrative structure. Meanwhile, the research object to be analyzed is the representation of women's feminism. the purpose of this study is to find out how the representation of women's feminism is shown in the film Bra

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KOUADRI, Ahlem, and Amina HACHOUF. "I TRATTI CULTURALI DEL MONDO ORIENTALE NEL FILM DISNEYANO: ALADDIN "VERSIONE 2019" / THE CULTURAL TRAITS OF THE EASTERN WORLD IN THE DISNEY FILM: ALADDIN "VERSION 2019"." Studii si cercetări filologice. Seria Limbi Străine Aplicate – Philological Studies and Research – Applied Foreign Languages Series, no. 21 (June 12, 2024): 102–10. https://doi.org/10.5281/zenodo.11621306.

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<strong><em>Riassunto</em></strong><em>:</em><em> Questo lavoro di ricerca si incentra l’attenzione sull’ analisi dei tratti culturali nel cartone animato <strong>Aladdin</strong> che riguarda l’ultima versione uscita nell’ 2019.  L’animazione rappresenta oggi un potente veicolo di cultura e identità. Questo   prodotto artistico-culturale è stato sempre onnipresente da tanti anni fa nei media ma con l’evoluzione continua delle tecniche di montaggio da parte delle grandi aziende produtrici come quella di <strong>Walt Disney compan

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Forecka-Waśko, Katarzyna Maria. "Muzyczne języki bajek Walta Disneya w procesie edukacji międzykulturowej." Edukacja Międzykulturowa 20, no. 1 (2023): 196–207. http://dx.doi.org/10.15804/em.2023.01.14.

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Music from Walt Disney’s animations is an element of pop culture. However, it is not a world limited to popular music but a space where ethnic music meets new sounds. The world of contemporary music enters a dialogue with the music of the sources, becoming its new translator. Thanks to Walt Disney’s film productions, multicultural music education opens up a new dimension in which globalization becomes an ally of local culture. The article addresses how both sound and word are used to present a different culture. In the cited examples, the language with its rhythm and melody is treated as an in

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Teixeira, Carla Araújo Bastos, Tamires de Sena Ferreira, Mirla Maria da Silva Saldanha, et al. "A paleta das emoções: analisando divertida mente sob a ótica da psicologia das cores." CONTRIBUCIONES A LAS CIENCIAS SOCIALES 18, no. 2 (2025): e15721. https://doi.org/10.55905/revconv.18n.2-325.

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O filme Divertida Mente é uma animação da Pixar Animation Studios, distribuído pela Walt Disney Pictures e lançado em 2015. Este trabalha as emoções e as associa a algumas cores. Desta maneira o presente estudo tem por objetivo analisar o filme "Divertida Mente", investigando como a cor dos personagens é utilizada para expressar e intensificar as emoções à luz da psicologia das cores, oferecendo uma visão mais profunda sobre a interação entre cor e emoção na narrativa visual. Trata-se de um estudo teórico reflexivo , de abordagem qualitativa e baseada em revisão bibliográfica que investiga o i

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Anjirbag, Michelle. "Mulan and Moana: Embedded Coloniality and the Search for Authenticity in Disney Animated Film." Social Sciences 7, no. 11 (2018): 230. http://dx.doi.org/10.3390/socsci7110230.

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As the consciousness of coloniality, diversity, and the necessity of not only token depictions of otherness but accurate representations of diversity in literature and film has grown, there has been a shift in the processes of adaptation and appropriation used by major film production companies and how they approach representing the other. One clear example of this is the comparison of the depiction of diverse, cross-cultural womanhood between Walt Disney Animation Studio’s Mulan (1998) and Moana (2016). This paper will use a cross-period approach to explore the ways in which a global media co

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Ahlem, KOUADRI, and HACHOUF Amina. "I tratti culturali del mondo orientale nel film Disneyano: Aladdin "Versione 2019" / The Cultural Traits of the Eastern World in the Disney Film: Aladdin "Version 2019"." Studii şi cercetări filologice. Seria Limbi Străine Aplicate / Philological Studies and Research. Applied Foreign Languages Series, no. 21 (December 19, 2022): 102–10. https://doi.org/10.5281/zenodo.7459099.

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<em>Questo lavoro di ricerca si incentra l’attenzione sull’ analisi dei tratti culturali nel cartone animato <strong>Aladdin</strong> che riguarda l’ultima versione uscita nell’ 2019.  L’animazione rappresenta oggi un potente veicolo di cultura e identità. Questo   prodotto artistico-culturale è stato sempre onnipresente da tanti anni fa nei media ma con l’evoluzione continua delle tecniche di montaggio da parte delle grandi aziende produtrici come quella di <strong>Walt Disney company,</strong> i cartoni animati sono diventati u

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Sales, Rebeca Cristina Silva de, and Cláudia Michelly Sales de Paiva Tonacio. "“ZOOTOPIA” E MINORIAS: UMA ANÁLISE DA DIVERSIDADE E INCLUSÃO NAS POLÍTICAS DE TRABALHO E AMBIENTE CORPORATIVO SOB A PERSPECTIVA DA SÉTIMA ARTE." Revista Ibero-Americana de Humanidades, Ciências e Educação 11, no. 3 (2025): 1327–42. https://doi.org/10.51891/rease.v11i3.18427.

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O mercado de trabalho do século XXI ainda funciona, muitas vezes, como um espaço de reprodução de hierarquias sociais e simbólicas, dificultando o acesso e a permanência de grupos vulnerabilizados — como mulheres, pessoas negras e indivíduos com deficiência, dentre outros — em posições de prestígio e comando. Essa desigualdade estrutural é sustentada por estigmas culturais e institucionais que fortalecem percepções de fragilidade e incapacidade desses grupos. Este estudo analisa o filme Zootopia – Essa Cidade é o Bicho (2016), da Walt Disney Animation Studios, como uma metáfora para essas dinâ

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Kleiman, Yulia A. "Pinocchio of the Red Decade: On Stage and on Screen." Literature of the Americas, no. 10 (2021): 310–30. http://dx.doi.org/10.22455/2541-7894-2021-10-310-330.

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Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially s

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Beaudine, Gregory, Oyemolade Osibodu, and Aliya Beavers. "Disney’s Metaphorical Exploration of Racism and Stereotypes: A Review ofZootopiaZootopiadirected by Byron Howard, Rich Moore, and Jared Bush. Produced by Walt Disney Animation Studios, 2016. 108 minutes." Comparative Education Review 61, no. 1 (2017): 227–34. http://dx.doi.org/10.1086/690061.

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Fadhilah, Sania Raihan. "VISUALISASI BUDAYA ASIA TENGGARA DALAM DESAIN ENVIRONMENT DI FILM ANIMASI “RAYA AND THE LAST DRAGON”." Jurnal Nawala Visual 4, no. 2 (2022): 100–105. http://dx.doi.org/10.35886/nawalavisual.v4i2.433.

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Di era globalisasi ini, adat istiadat terlihat mulai terkikis oleh budaya modern. Banyak masyarakat yang mulai tidak mengenali adat istiadat dari tanah air mereka. Bagusnya, Walt Disney Animation Studio mengeluarkan film animasi berjudul “Raya and the Last Dragon” yang mengadaptasi budaya Asia Tenggara. Negara-negara di Asia Tenggara sendiri memiliki ciri khas fisik, latar belakang, dan budaya yang hampir serupa. Budaya di Asia Tenggara ini dinilai sangat autentik, unik, dan ethnic oleh orang-orang barat. Peneliti tertarik untuk menelaah penggunaan budaya Asia Tenggara pada desain environment

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Saraswati, Agni, Kathryn Widhiyanti, and Nindya Galuh Fatmawati. "Desain karakter film animasi Raya and The Last Dragon dalam membangun politik identitas Asia Tenggara." Satwika : Kajian Ilmu Budaya dan Perubahan Sosial 5, no. 2 (2021): 254–67. http://dx.doi.org/10.22219/satwika.v5i2.17587.

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Raya and the Last Dragon merupakan salah satu film animasi dari Walt Disney Studio yang dirilis pada awal 2021. Film tersebut menceritakan petualangan tokoh bernama Raya di negeri Kumandra yang mencari naga untuk membasmi musuh dan menyelamatkan dunia. Dalam film tersebut terlihat elemen kuat warna, aset, latar belakang, nilai-nilai kehidupan, kebiasaan, dan adat istiadat yang sangat dekat dengan kehidupan sehari-hari masyarakat di Asia Tenggara. Dilihat dari indikasi tersebut, maka terdapat politik identitas yang mencerminkan bangsa di wilayah Asia Tenggara. Penelitian ini bertujuan meneliti

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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 (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 interesti

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Quintero, Isabella, and Yunex Echezabal. "Encanto Film Analysis." Journal of Student Research 11, no. 4 (2022). http://dx.doi.org/10.47611/jsrhs.v11i4.3495.

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Walt Disney Animation Studios is the animation studio responsible for creating some of the most beloved Disney films ever made and continues to expand with the production and release of more films exploring and prioritizing diversity, including their promise to "honor heritage through animated films". Encanto is a popular animated children's movie released in 2021 by Walt Disney Animation Studios surronding a family with magical powers that live in rural Colombian. This movie promises to deliver diversity and accurately portray not only the setting but the people of Colombia, visually, emotion

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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 (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

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Fathanah, Isma, Luthfi Mustika Framesthia, Rabi’ah Al-Adawiyah, Silmy Shabrina Mujahadah, and Mira Pitriani. "Raya and The Last Dragon : Representation of Southeast Asian Culture in Film." Cinematology: Journal Anthology of Film and Television Studies 2, no. 2 (2022). https://doi.org/10.17509/ftv-upi.v2i2.45669.

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Each country has a different culture with its own uniqueness. Each country also has its own way of maintaining its culture, either through education, festivals, formal or informal education, etc. However, in practice many countries have difficulties. Therefore, several countries maintain their culture through one of the arts fields, one of which is the film Raya The Last Dragon. Film Raya and The Last Dragon is a film produced by Walt Disney Animation Studios. The film was directed by Don Hall and Calos Lopes Estrada and the screenplay was written by Qui Nguyen and Adele Lim. This film tells t

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