Artículos de revistas sobre el tema "Disney Pixar"

The purpose of this content analysis was to examine how death depictions in animated Disney films has changed in the past 14 years and the coping mechanisms used to process death within these films. A content analysis from 2005 was used to investigate the influence of Disney films on children’s concepts of death based on 23 death scenes from 10 full-length Disney Classic animated films from 1937 to 2003 and 10 death scenes from 8 selected full-length Disney and Pixar animated films from 2003 to 2016. Our goal was to compare the findings across the two studies. Similar to the original study, the portrayal of death focused on five categories: character status; depiction of death; death status; emotional reaction; and causality. We expanded on the original study and more research by examining coping mechanisms used to process death within a selection of these films. Our findings indicated that some scenes from animated Disney and Pixar films obscure the permanence and irreversibility of death and often fail to acknowledge deaths emotionally. Our conclusions showed that Disney’s and Pixar’s portrayal of death in newer films might have more positive implications for children’s understanding of death than Disney Classic animated films.

- 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.

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.

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.

Representations of boys and men in Disney films often escape notice due to presumed gender neutrality. Considering this omission, we explore masculinities in films from Disney’s lucrative subsidiary Pixar to determine how masculinities are represented and have and/or have not disrupted dominant gender norms as constructed for young boys’ viewership. Using Raewyn Connell’s theory of gender hegemony and related critiques, we suggest that while Pixar films strive to provide their male characters with a feminist spin, they also continue to reify hegemonic masculinities through sharp contrasts to femininities and by privileging heterosexuality. Using a feminist textual analysis that includes the Toy Story franchise, Monsters, Inc., Finding Nemo, The Incredibles, and Coco, we suggest that Pixar films, while offering audiences a “new man,” continue to reinforce hegemonic masculinities in subtle ways that require critical examination to move from presumed gender neutrality to an understanding of continued, though shifting, gender hegemony.

This study expanded upon previous scholarship by examining end-of-life (EOL) depictions and messages of death within Disney and Pixar animated films. We argue Disney and Pixar depictions of EOL and death can provide critical opportunities for discussing death and dying processes with children and adults alike. A content analysis of 57 movies resulted in a total of 71 character deaths. These instances of death became the discourse used for analysis. The EOL discourse was coded based on five categories (character status, depiction of death, death status, emotional reaction, and causality). After quantitative analysis, the films were qualitatively analyzed. Four themes emerged from analysis, unrealistic moments, managing EOL, intentions to kill, and transformation and spiritual connection. Discussion of results, limitations, and directions for future research are included.

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.

Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess and the Frog (Clements and Musker, 2009), Tangled (Greno and Howard, 2010), Brave (Andrews and Chapman, 2012), Frozen (Buck and Lee, 2013) and Moana (Clements and Musker, 2016). This article first explores the films' use of costume simultaneously to establish the childness of the characters and visually foreshadow the 'princesses' they will become. It then turns to the implied child audience of these films, considering the Disney Princess line of merchandise and the role of clothing and costume within it.

In 2013, the Walt Disney Company submitted an application to trademark “Día de los muertos” (Day of the Dead) as they prepared to launch a holiday themed movie. Almost immediately after this became public Disney faced such strong criticism and backlash they withdrew their petition. By October of 2017 Disney/Pixar released the animated film Coco. Audiences in Mexico and the U.S. praised it's accurate and authentic representation of the celebration of Day of the Dead. In this essay, I argue that despite its generic framing, Coco mobilizes many elements of horror in its account of Miguel's trespassing into the forbidden space of the dead and his transformation into a liminal figure, both dead and alive. Specifically, with its horror so deftly deployed through tropes and images of borders, whether between life and death or the United States and Mexico, Coco falls within a new genre, the border horror film.

Previous quantitative research examining Disney movies has highlighted that whilst prince characters display largely balanced gender profiles, princesses exhibit biased gender role portrayals—performing mostly feminine characteristics, rarely participating in rescue behavior, and concluding movies in romantic relationships with the prince. However, such research, as well as public commentary, has also suggested that princess characters in movies released across the 2000s and 2010s may have more positive gender role portrayals. This study aimed to test these assertions by utilizing content coding analysis to examine the behavioral characteristics, rescue behavior, and romantic conclusions of prince and princess characters in five iconic Disney films released between 2009 and 2016 (The Princess and the Frog, Tangled, Brave (released under Pixar), Frozen, and Moana). Comparisons were also made with earlier titles to assess historical changes. Results showed that princesses in “2000s to 2010s” movies exhibited an almost equal number of masculine and feminine behaviors, thus demonstrating more egalitarian profiles over time. In contrast, princes appeared to adopt a more feminine behavioral profile in later movies. In addition, characters engaged in equal numbers of rescue behaviors, and princesses were more likely to remain single in “2000s to 2010s” movies. Results therefore suggest that Disney is indeed presenting more diverse, androgynous, balanced characters to viewers, and the theoretical and practical implications for the socialization of young child viewers are discussed.

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.

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.

<p>El dominio creciente de las técnicas de animación 3D a comienzos de la década de 2000 ha provocado un interesante cambio dentro del canon artístico de los largometrajes comerciales de animación estadounidenses. Aunque la animación 2D hollywoodiense siempre ha coqueteado con el estilo fotorrealista, esta tendencia visual se ha estandarizado en la producción de animación gracias a las posibilidades del paradigma digital. El artículo considera el estreno de Wall•E (Andrew Stanton, 2008), una de las obras visualmente más impactantes en la filmografía Disney/Pixar, como un momento crucial dentro de este proceso estético, ya que marca la primera colaboración entre el director de fotografía Roger Deakins y un estudio de animación. El artículo analiza los primeros diez minutos del largometraje para establecer si la labor de asesoría visual de Deakins pueden considerarse un hito que abrió nuevos caminos a la dirección de fotografía digital de imagen real. </p>

Objetiva-se relatar a experiência, enquanto enfermeira, de um ambulatório de quimioterapia pediátrica, que foi decorado para ser atraente às crianças (Aquário Carioca). Trata-se de um estudo descritivo do tipo relato de experiência, em um hospital do Rio de Janeiro, realizado entre dezembro de 2007 e maio de 2008. Este ambiente foi decorado baseado no filme Procurando Nemo (Disney-Pixar®), após um acordo firmado entre a instituição e representantes da sociedade civil. O Aquário Carioca trouxe o brincar para o local de tratamento. Percebeu-se que os profissionais pareciam mais motivados, o cuidado foi facilitado e as relações tornaram-se mais dialógicas ao utilizar recursos lúdicos, minimização da agitação da criança durante procedimentos, diminuição de náuseas e vômitos, desejo da criança em permanecer na sala. A mudança do ambiente ofereceu às crianças atividades estimulantes e divertidas, trazendo distração, calma, segurança e maior aceitação do tratamento. Com isso a criança desviou seu foco da doença.

Hollywood films such as Pixar’s Moana (2016) and Warner Brothers’ Aquaman (2018) have drawn on the aesthetics and stories of the island cultures of Oceania to inform their narratives. In doing so, these works have both succeeded and failed to respect and engage with oceanic cultural knowledge, providing a cultural vehicle to expand communication, while also exploiting Oceanic culture for financial gain. Cultural tropes and stereotypes pose a heavy intellectual burden that neither film fully shoulders, nor are the complexities of their content acknowledged. Moana sought to enlarge the franchise of the “Disney Princess” genre, but could not avoid issues of cultural appropriation and tokenism becoming entangled with an ongoing process of engagement. Moana’s desire to represent the cultural memory of Oceania raises questions, but while Pixar presents digital fantasy, Aquaman hides its global ambitions beneath star Jason Momoa’s broad shoulders. If the blue humanities is to follow the seminal postcolonial scholarship of Tongan and Fijian cultural theorist Epeli Hau’ofa by exploring a counter-hegemonic narrative in scholarly treatment of the global oceans, then how can it respond with respect? This risk applies equally to academic literary inquiry, with a more inclusive mode of receptive and plural blue humanities as an emerging response.

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.

Esta investigación analiza la figura femenina y masculina en 11 películas de animación de las factorías Disney, Pixar y DreamWorks. Se busca aportar información sobre la existencia de roles sexistas y discriminatorios en películas que pueden ser utilizadas como recurso didáctico y comprobar si son un modo de transmisión de contravalores que comprometan la socialización en igualdad de género de la infancia. La investigación se ha llevado a cabo utilizando un enfoque cualitativo de análisis de contenido, a través de un registro analítico elaborado ‘ad hoc’, para conocer en qué porcentaje está representada la figura femenina, su relación con otros personajes y las tramas argumentales asociadas a cada protagonista en función de su género. Los resultados revelan que existe un desequilibrio en la representación femenina y masculina y que se identifican comportamientos sexistas que perpetúan la tradicional imagen social de mujeres y hombres. Se muestran dos nuevos estereotipos: la rebeldía de género y el alarde de excepcionalidad. Se concluye que estas películas no son un recurso óptimo para potenciar los valores de igualdad propios de una escuela coeducativa, a menos que los docentes junto al alumnado, realicen un análisis crítico con perspectiva de género durante su proyección en el aula.

Although 3D printing has been extensively used to create passive machines and mechanisms, 3D printing of actuators is a relatively new concept. 3D printing of actuators allows greater customization, accelerates the design and development, and consequently saves time and money. We present the design and fabrication of a 3D printed, miniature size, double-acting, On-Off type, linear pneumatic actuator. The actuator has an overall length of 8 cm, a bore size of 1.5 cm, and a stroke length of 2.0 cm. The overall weight is 12 gm and it generates a peak output power of 2 W when operating at an input air pressure of 40 psi ( 275 . 79 kPa). This paper demonstrates novel methods to solve the challenges that arise during fabrication that include: (1) chemical post-processing to achieve airtight sealing and a smooth surface finish, (2) strategic placement of a metallic part within 3D printed plastic for higher strength, (3) design of an airtight seal between the cylinder and piston head, (4) chemical bonding of printed parts using adhesive, and (5) use of a lubricant to reduce friction and improve force generation. The power-to-weight ratio of our actuator is comparable to that of high-end commercial actuators of similar size. The utility of the actuator is demonstrated in a series of jumping experiments with the actuator and by incorporating the actuator into a hopping robot inspired by Disney/Pixar Luxo lamp. We conclude that 3D printed pneumatic actuators combine the high power of pneumatics with the low weight of plastics, and structural strength through the selective placement of metal parts, thus offering a promising actuator for robotic applications.

Film dapat mengangkat citra sebuah tujuan wisata tempat pembuatan film tersebut. Pendapatan daerah tempat tersebut menjadi meningkat. Contoh dari film laskar pelangi (2008) dari film tersebut kita juga bisa melihat paronama dari pantai Tanjung di pulau Belitung. Kemudian ada juga film di tahun 2016 masih dari film Indonesia yaitu film ada apa dengan cinta yang mengambil lokasi syuting di kota Yogyakarta seperti Ada Apa Dengan Cinta 2? film yang dapat meningkatkan kunjungan wisata dan devisa pendapatan kota Yogyakarta. Terdapat Film lain yang dapat meningkatkan devisa pendapatan daerah tetapi dengan format film animasi di tahun 2017. Film tersebut tidak lain berjudul “Coco” film animasi karya produksi Disney dan Pixar yang mengangkat salah satu tempat di negara Mexico ini berhasil merajai Box Office di Amerika Serikat dan beberapa negara di dunia. Coco yang dirilis tahun 2017 ini banyak mendapatkan pujian dari kritikus film, film iniberhasil mengumpulkan keuntungan yang fantastis. Kehebatan new media dengan segala sisi interaktifnya dan fungsi konvergensinya terus berkembang. Banyak media yang membentuk destinasi pariwisata melalui media komunikasi seperti film, iklan, buku, televisi, media online dan lain sebagainya. Menarik untuk dikaji dan dianalisa sebuah film animasi seperti COCO ini, bagaimana sebuah film menjadi medium komunikasi yang cukup efektif dalam peningkatan destinasi wisata. Dengan studi pendekatan Kuantitatif, penelitian ini menggunakan metode analisis isi, yaitu metode yang digunakan untuk meriset atau menganalisis isi komunikasi secara sistematik, objektif dan kuantitatif. Analisis isi kuantitatif lebih memfokuskan pada isi komunikasi yang tampak (tersurat/manifest/nyata). Hasil dari penelitian ini adalah Film COCO memberikan pesan komunikasi pariwisata khususnya di kategorial Budaya dan Adat Istiadat yang tergambar cukup jelas dan detil pada plot hingga setting dalam filmnya.

OBJETIVO: describir las características clínicas, tomográficas, función respiratoria y pruebas de laboratorio de los pacientes con diagnóstico de SARS-CoV-2. MÉTODO: estudio descriptivo retrospectivo de los pacientes ingresados al servicio del área respiratoria en el Centro Médico y Hospital El Pilar de Guatemala con diagnóstico de Sars-COV-2 durante los meses de junio de 2020 a marzo del 2021, con una muestra de 61 personas evaluadas. RESULTADOS: de 61 expedientes revisados con diagnóstico SARS-CoV-2 de los cuales, el sexo más afectado fue masculino con un 75% (46 pacientes) y el sexo femenino 25% (15 pacientes), el grupo etario más afectado fueron las personas de 46-55 años con un 33% (20 pacientes). La tres manifestaciones clínicas más frecuentes fue disnea con un 75% (46 pacientes) seguido de fiebre en un 67% (41 pacientes), tos en un 66% (40 pacientes), y en los hallazgos tomográficos tuvo predominio el patrón vidrio esmerilado 47% (29 pacientes), seguido de un patrón alveolar difuso con un 26% (16 pacientes), consolidación 23% (14 pacientes), con frecuente afectación bilateral en un 70% (43 pacientes). CONCLUSIÓN: los pacientes recuperados por diagnóstico de SARS-CoV-2 mostraron una función respiratoria alterada. Las pruebas de función respiratoria que fueron afectadas fue el patrón espirométrico sugerente a restricción con un 41% (25 pacientes), una difusión de monóxido de carbono con disminución el 26% (13 pacientes) y una restricción pulmonar en la pletismografía 20% (9 pacientes).

Diabetes melitus (DM) merupakan salah satu penyakit kronis (menahun) yang disebabkan berkurangnya produksi insulin dari pankreas maupun insulin yang dihasilkan tidak efektif dalam mengurangi kadar gula darah. Keadaan ini akan meningkatkan kadar gula darah sehingga merusak sistem kekebalan tubuh. Penanganan awal pada penderita DM adalah dengan mengubah gaya hidup yaitu mengkonsumsi makanan dengan kandungan nutrisi yang diperlukan oleh tubuh dan memperbanyak aktivitas fisik. Untuk mengatur pola makan pada penderita DM maka diperlukan diet dengan mengatur komposisi pola makanan dan mengendalikan kadar gula darah. Penelitian ini bertujuan untuk membuat suatu model penyusunan menu makanan sehat berdasarkan jumlah kebutuhan kalori per hari, sehingga memenuhi kriteria gizi seimbang dan memenuhi variasi makanan berupa makanan pokok, lauk pauk, sayuran dan buah. Pada penelitian ini metode Adaptive Neuro Fuzzy Inference System (ANFIS) dan Algoritma Genetika (GA) digunakan untuk memberikan saran penyajian makanan yang memenuhi jenis menu dan jumlah porsi yang ideal bagi penderita DM. Hasil penelitian menunjukkan bahwa metode yang diusulkan memperoleh nilai untuk accuracy training sebesar 89.1% dengan menggunakan metode ANFIS dan untuk pemenuhan nutrisi yang dicapai sebesar 98.9% dengan menggunakan GA yang artinya bahwa metode ANFIS dan GA dapat memberikan hasil akhir yang sangat baik yaitu dengan menghasilkan menu sehat yang memenuhi gizi yang optimal dan tercapainya keanekaragaman makanan sesuai dengan 4 pilar gizi seimbang.Kata kunci :Diabetes Melitus, ANFIS, Algoritma Genetika, menu sehat. Diabetes mellitus (DM) is one chronic disease caused by reduced production of insulin from the pancreas and insulin produced is not effective in reducing blood sugar levels. This situation will increase blood sugar levels, thus damaging the immune system. Initial treatment in diabetics is to change the lifestyle of eating foods with nutritional content needed by the body and increase physical activity. To regulate the diet in people with diabetes melitus, it takes the diet by adjusting the composition of diet patterns and control blood sugar levels. This study aims to create a healthy food menu based on the number of caloric needs per day, so that it meets the criteria of balanced nutrition and meets the variety of foods in the form of main dishes, side dishes, vegetables and fruits. In this research, Adaptive Neuro Fuzzy Inference System (ANFIS) and Genetic Algorithm (GA) method are used to provide suggestions for serving foods that meet the menu type and ideal portion for DM patients. The results showed that the proposed method scored 89.1% accuracy training by using ANFIS method and for fulfillment of nutrition reached 98.9% by using GA which means that ANFIS and GA method can give excellent result that is by producing Healthy food menu that meets optimal nutrition and achievement of food diversity in accordance with 4 pillars of balanced nutrition. Keyword :Diabetes Melitus, ANFIS, Genetic Alghorithm, healthy menu.

This work presents an analysis of the electromagnetic fields generated by the different configurations of transmission lines associated with the Venezuelan electrical system, with voltages 230, 400 and 765 kilo Volts, and the transmission towers that will be built at the Manuel Piar Hydroelectric Plant. - Tocoma. The theoretical aspects and technical foundations for the evaluation of the magnetic field in transmission lines are analyzed. The work was carried out at the CORPOELEC company in Venezuela. The criteria and technical regulations were observed to verify respect for the levels allowed by national and international standards, to which a person may be exposed. The results show the location areas of the transmission lines and their corresponding electromagnetic analysis. Keywords: Electromagnetic fields, transmission lines, transmission towers. References [1]EPRI AC Transmission Line Reference Book- 200 kV and Above, Third Edition. 2005. [2]"Interruptores de desconexión de aire de alto voltaje estándar nacional estadounidense Interruptores interruptores, interruptores de iniciación de fallas, interruptores de puesta a tierra, soportes de bus y accesorios Rangos de voltaje de control: programas de clasificaciones preferidas, pautas y especificaciones de construcción", en ANSI C37.32-1996 , vol., núm., págs. i-36, 1996, doi: 10.1109 / IEEESTD.1996.95627. [3]NEMA SG-6-1995, Nema sg 6 1995 tablas 32 1114 ilustración determina [Online], Available: https://www.coursehero.com/file/p5ngkj3/NEMA-SG-6-1995-Tables-32-1-114-Illustration-Determine-the-electrical/ [4]COVENIN 2238:2000. Radiaciones No Ionizantes. [Online], Available: http://www.sencamer.gob.ve/sencamer/normas/2238-00.pdf. [5]Codigo Nacional de Seguridad en Instalaciones de Suministro de Energia Electrica y de Comuninaciones, CODELETECTRA, Codigo de Seguridad Electrica. Espacios libres mínimos para partes activas. [6]ESP OIL Engineering Consultants, WorkShop International, "Diseno de subestaciones eléctricas", dictado por M.Sc Manuel Briceno, 2006. [7]F.Gonzalez-Longatt, Líneas De Transmisión. [Online], Available: https://fglongatt.org/OLD/Archivos/LT_1.html. [8]R. López Valverde. Historia del electromagnetismo. Ediciones IES, Pablo Picasso, 2001. [9]P. Muné, M. Hernández-Wolpez, A. Cruz-García y RJ Jardim. (2015). “Sobre la penetración y atrapamiento del flujo magnético en superconductores Bi-2223”. Rev. Cubana de Física. Vol. 32, no. 1 pp 53. [10]C. Furió y J. Guisasola. (2001). “La enseñanza del concepto de campo eléctrico basada en un modelo de aprendizaje como investigación orientada”. Rev. Enseñanza De Las Ciencias, 19 (2), pp.319-334. [11]D. Vásquez Gonzales. (2017) “Aplicación del método cadena crítica para la mejora en construcción de cimentaciones de torres autosoportadas – caso línea de transmisión 66kV, en Sayán, Lima” Tesis de grado. Universidad César vallejo. Perú. [12]J. Maxwell (1864). “Una teoría dinámica del campo electromagnético”. Rev. Sociedad de la realeza. Vol 155. [13]D. Strebkov. (2014) “Perspectivas de uso de tecnologías de nicola tesla en ingeniería de energía actualizada”. Rev.Light & Engineering. vol. 22 Edición 2, pp 4-14.

Diseño sociedad y ambiente son términos habituales y definidos alrededor del mundo. Cada uno posee una relación con el otro, se manifiesta la adaptación del diseño al paradigma de cambio de la sociedad en nexo directo con el medio ambiente. El objetivo del artículo fue clarificar, mediante la metodología de investigación cualitativa, el nexo y la evolución de los términos anteriormente expuestos como un ente de progreso social. La relación que presenta el diseño ante la sociedad y cambios en el medio ambiente. Como contribuye el último hacia la sociedad y forma e ideas de diseño. Palabras Clave: Innovar, Interacción, Relación, Diseño. Referencias [1]C. E. Valderrama, «Medios de comunicación y globalización: tensiones de la política, las identidades y la educación,» Medios de comunicación tecnologías, política y educación - Nómadas 21, pp. 12-22, 2019. [2]C. Fiorentino, «El diseño resiliente: un medio para el diseño sustentable,» Argentina, 2015. [3]G. Rodriguez, «Manual de Diseño Industrial,» Litoarte S.A de C.V., Mexico, 2015. [4]C. Jones, Interviewee, Diseño. [Entrevista]. 1978. [5]N. Chaves, «Diseño e innovación,» 2016. [En línea]. Disponible: https://www.norbertochaves.com/articulos/texto/diseno_e_innovacion. [Último acceso: 14 Julio 2018]. [6]E. B. A. Pineda, «Innovación tecnológica, economía y sociedad: una reflexión necesaria para CTS,» 2017.[En línea]. Disponible: https://www.oei.es/historico/salactsi/elsa7.htm. [Último acceso: 14 Julio 2018]. [7]J. V. Jurado, Innovación Social, Asunción: Coordinación de la Cátedra Ciencia , 2017. [8]Senescyt, «Innovación social, pilar fundamental para el Ecuador del conocimiento,» 15 Enero 2015. [En línea]. Disponible: https://www.educacionsuperior.gob. ec/innovacion-social-pilar-fundamental-para-el-ecuador-del-conocimiento/. [Último acceso: 14 Julio 2018]. [9]C. Mella, «10 ideas para vivir en armonía con el medioambiente,» 2016. [En línea]. Disponible: https://www.aarp.org/espanol/hogar-familia/expertos/cristina-mella/info-2015/fotos-medio-ambiente-casa-ecologica. html#slide12. [Último acceso: 14 Julio 2018]. [10]A. C. Rosa, «LA SOCIEDAD DE CONSUMO: ORIGEN Y CARACTERÍSTICAS,» Contribuciones a la Economía, 2017. [11]I. Alarcón, «Eciador tiene un déficit en reciclar basura,» 28 Abril 2017. [En línea]. Disponible: https://www.elcomercio.com/tendencias/ecuador-deficit-reciclar-basura-contaminacion.html. [Último acceso: 14 Julio 2018]. [12]A. Lopez, «IMPORTANCIA DEL DISEÑO ANTE LA SOCIEDAD,» 17 Septiembre 2015. [En línea]. Disponible: https://es.linkedin.com/pulse/importancia-del-dise%25C3%25B1o-ante-la-sociedad-victor- adrian-bustos-lopez&num=1&hl=es-419&gl=ec&strip=1&vwsrc=0. [Último acceso: 14 Julio 2018]. [13]D. V. D. Bella, «Diseño en Perspectiva - Diseño para la transición.,» Cuaderno 80 | Centro de Estudios en Diseño y Comunicación, pp. 9-10, 2018. [14]A. Calcagno, «UN PURIFICADOR DE AGUA PORTATIL,» 2016. [En línea]. Disponible: http://construirtv.com/un-purificador-de-agua-economico-y-portatil/. [Último acceso: 14 Julio 2018]. [15]Tonahm, «EVOLUCIÓN DEL DISEÑO INDUSTRIAL, » 13 Febrero 2017. [En línea]. Available: https://analizadi.wordpress.com/2017/02/13/evolucion-del-diseno-industrial/. [Último acceso: 14 Julio 2018]. [16]G. Scarabotti, «El diseño aplicado a huertas reducidas, » Universidad de Palermo, 2017. [17]P. G. Núñez, «¿Qué es la psicología ambiental?,» 5 Enero 2018. [En línea]. Disponible: https://lamenteesmaravillosa.com/la-psicologia-ambiental/. [18]J. B. Horrigan, «Information Overload,» Pew Research, 2016. [19]CEIARTE, «ECO: una herramienta para afrontar la crisis ambiental global a partir del encuentro entre arte, ciencia y nuevas tecnologías [fase 1],» 2018. [En línea]. Disponible: http://www.ceiarteuntref.edu.ar/eco. [Último acceso: 14 Julio 2018]. [20]Organización Mundial de la Salud, «Organización Mundial de la Salud,» 6 Marzo 2017. [En línea]. Disponible: https://www.who.int/es/news-room/detail/06-03- 2017-the-cost-of-a-polluted-environment-1-7-millionchild- deaths-a-year-says-who. [Último acceso: 14 Julio 2018]. [21]M. Valera, «ECOVIDRIO,» 13 Octubre 2015. [En línea]. Disponible: https://hablandoenvidrio.com/biodiversidad-y-conservacion-de-la-naturaleza/. [Último acceso: 14 Julio 2018]. [22]M. Blasi, «Cronicas de un Amonite,» 8 Marzo 2018. [En línea]. Disponible: https://cronicasdeunamonite.wordpress.com/2018/03/08/la-importancia-de-la-biodiversidad-para-los-ecosistemas-y-quien-se-encarga-de-protegerla/. [Último acceso: 14 Julio 2018]. [23]L. F. Laffont, M. T. Miralles y M. Mariño, «Biomimética Proyectual; ¿Cómo transferir funciones biológicas a productos industriales?,» Unidad | Tecnología enRelación Proyectual, 2018. [24]A. C. Iberico, Diseño e ilustración para la protección del medio ambiente, Lima: Pontificia Universidad Católica del Perú, 2016. [25]G. Alegra, «William Morris (1834-1896): arte, política y utopía,» Mito, 2014. [26]C. Anna, «Acerca de la influencia de William Morris y el movimiento Arts &Crafts en Cataluña.,» p. 2, 1997. [27]P. O. Luis, «William Morris:pionero de la micropolítica, » Visual, pp. 40-47, 2019. [28]J. C. Ortíz Nicolás, «Innovación social y diseño, una propuesta metodológica,» Centro de Investigaciones de Diseño Industrial, 2016. [29]R. Pallás, «Manifiesto Slow Design,» Revista temática de diseño , 2016.

O filme “Valente” (2012) foi o primeiro filme da Pixar com uma protagonista feminina, além de ser o primeiro filme do estúdio a ser dirigido por uma mulher. O filme é fruto da união entre Pixar e Disney, sendo que a Disney possui uma conhecida tradição em “filmes de princesa”. A partir de um conjunto de atributos comuns às primeiras princesas da Disney, constituindo-se assim a “Princesa Clássica”, verificamos a mudança da figura da princesa na personagem Merida, do filme “Valente”, que sugere uma quebra de padrões narrativos da Princesa Clássica ao se construir conforme uma imagem de mulher contemporânea. Também são identificadas novas funções dramáticas da protagonista Merida, em comparação às princesas antecedentes, bem como novas abordagens de relações entre personagens, como por exemplo a relação com a figura maternal e seu papel como antagonista nos filmes. “Valente” se apropria e ressignifica temas comuns aos filmes de princesa, tais como a bruxa, o casamento, o dever etc., e propõe uma conclusão que foge ao tradicional “felizes para sempre” da Princesa Clássica.

Acaban de cumplirse 20 años del estreno de la película “Toy Story”, primera de la factoría Disney Pixar y que marcaría un hito en la animación cinematográfica. Con esa frase (“To infinity… and eyond”) el protagonista, Buzz Lightyear iniciaba su tarea, su reto, su misión…

A partir de “Da Imperfeição” de Greimas (2002), o texto discorre sobre as fraturas e escapatórias em “Ratatouille”, produção da Pixar Animation Studios em parceria com a Walt Disney Pictures, lançada em 2007. A análise se concentra nas escapatórias provocadas pela personagem Remy e na fratura ocorrida na cotidianidade de outra personagem, Anton Ego. Pretende contribuir com a educação, na medida em que convida professores a provocarem escapatórias e vivenciarem fraturas em sala de aula.

Οι Δώδεκα Βασικές Αρχές του animation αναπτύχθηκαν από τους Ollie Johnston και Frank Tomas, κορυφαίους σχεδιαστές της Disney από το 1930, στο βιβλίο «The illusion of life». Ο κύριος στόχος των αρχών, είναι να προσδώσουν προσωπικότητα στον σχεδιασμένο χαρακτήρα με την τήρηση των βασικών νόμων της φυσικής, αλλά επίσης να αποδοθούν και πιο αφηρημένες έννοιες, όπως η συναισθηματική κατάσταση, ο χρονισμός και η οπτική έλξη των χαρακτήρων. Αν και αρχικά προορίζονταν για να εφαρμόζονται στο παραδοσιακό, κινούμενο σχέδιο, οι αρχές εξακολουθούν να έχουν μεγάλη σημασία και για τις τεχνικές του computer animation και του stop motion animation. Άλλωστε ο ίδιος ο John Lasseter, (Pixar Graphics Group) ανάπτυξε την χρησιμότητα των αρχών αυτών και στην δημιουργία του 3D Computer Animation σε συνέδριο της SIGGRAPH από το 1987. Σαν εργαλείο διδασκαλίας του animation, θεωρείται αναγκαία η κατανόηση και η χρήση τους από τους σπουδαστές. Στο ΤΕΙ της Αθήνας και στο μάθημα Κινούμενο σχέδιο, οι αρχές περιλαμβάνονται στο θεωρητικό μέρος του μαθήματος και αναπτύσσονται μέσω των ασκήσεων στο εργαστηριακό. Έτσι ενσωματώνονται σαν τρόπος σκέψης και εργαλείο επικοινωνίας στους σχεδιαζόμενους χαρακτήρες των φοιτητών, που θα είναι οι αυριανοί δημιουργοί animation. Ο καλλιτέχνης μόνον αν κάνει κτήμα του τις βάσεις της τέχνης του μπορεί να αναπτύξει τον δικό του τρόπο έκφρασης, διαφορετικά κτίζει χωρίς θεμέλια, δηλαδή αναπαράγει οπτικό υλικό που δεν εμπεριέχει την προσωπικότητα του και άρα δεν επικοινωνεί.

Οι Δώδεκα Βασικές Αρχές του animation αναπτύχθηκαν από τους Ollie Johnston και Frank Tomas, κορυφαίους σχεδιαστές της Disney από το 1930, στο βιβλίο «The illusion of life». Ο κύριος στόχος των αρχών, είναι να προσδώσουν προσωπικότητα στον σχεδιασμένο χαρακτήρα με την τήρηση των βασικών νόμων της φυσικής, αλλά επίσης να αποδοθούν και πιο αφηρημένες έννοιες, όπως η συναισθηματική κατάσταση, ο χρονισμός και η οπτική έλξη των χαρακτήρων. Αν και αρχικά προορίζονταν για να εφαρμόζονται στο παραδοσιακό, κινούμενο σχέδιο, οι αρχές εξακολουθούν να έχουν μεγάλη σημασία και για τις τεχνικές του computer animation και του stop motion animation. Άλλωστε ο ίδιος ο John Lasseter, (Pixar Graphics Group) ανάπτυξε την χρησιμότητα των αρχών αυτών και στην δημιουργία του 3D Computer Animation σε συνέδριο της SIGGRAPH από το 1987. Σαν εργαλείο διδασκαλίας του animation, θεωρείται αναγκαία η κατανόηση και η χρήση τους από τους σπουδαστές. Στο ΤΕΙ της Αθήνας και στο μάθημα Κινούμενο σχέδιο, οι αρχές περιλαμβάνονται στο θεωρητικό μέρος του μαθήματος και αναπτύσσονται μέσω των ασκήσεων στο εργαστηριακό. Έτσι ενσωματώνονται σαν τρόπος σκέψης και εργαλείο επικοινωνίας στους σχεδιαζόμενους χαρακτήρες των φοιτητών, που θα είναι οι αυριανοί δημιουργοί animation. Ο καλλιτέχνης μόνον αν κάνει κτήμα του τις βάσεις της τέχνης του μπορεί να αναπτύξει τον δικό του τρόπο έκφρασης, διαφορετικά κτίζει χωρίς θεμέλια, δηλαδή αναπαράγει οπτικό υλικό που δεν εμπεριέχει την προσωπικότητα του και άρα δεν επικοινωνεί.

At a small suburban dinner party, the hostess asks a guest if he would like some more. Bunging on a silly accent, he grunts, "no, look. I couldn't eat another thing, I'm absolutely stuffed." Everyone at the table smiles. The host, who has no ear for accents, says, "oh, go on monsieur, wouldn't you like an after-dinner mint?" Smiles widen. "No. Bugger off," says the first guest. "O go on sir, it's only wafer-thin." "No, no," cry the other guests. "You're supposed to say, 'just one?'" "Sorry," says the host, much abashed. The first guest, however, picks up his cue and says, "oh alright, just one." Then he puts up his hand. "No really," he says, in his normal voice. "Unless you want me to explode." This causes the remaining guests to fall about laughing. "What," wonders the American at the table, aloud, "was that?!" Was it play? Certainly, it bears most of the elements prescribed by Huizinga as characteristic of play. It occurred spontaneously, according to pre-arranged rules which the participants all knew (except the American, but exclusivity too is a characteristic of play). It had a beginning and a clear end. It was not productive but rather was performed for its own sake. That is, it did not perform any work, such as helping to close the meal or providing information, but merely made the players happy. It was accompanied by the requisite feeling of joy and there was an element of tension (getting the script right). Further, the event incorporated two of the social practices which Huizinga identified as amongst the most playful -- performance and ritual. But there are two elements that Huizinga identified as being characteristic of play which do not quite fit the above scenario. Interestingly, they are the two characteristics about which Huizinga is most adamant. The first is the stricture regarding place. Huizinga argues that all play occurs in a specific, often dedicated, playspace. The dining room table, however, is hardly a defined play-space; indeed many mothers would argue it was precisely not a play-space. Perhaps it was a play-space in that the child in the back bedroom was not "playing", while everyone in the dining room was "included". The second question regards Huizinga's assertion that play happens in a "time apart". The performance described above, however, happened during dinner -- again, a time which many would regard as designated "not play-time". Perhaps the little ritual might be regarded as "time apart" -- a diversionary loop in linear time, if you like -- in that it did not progress the course of the meal. Huizinga, of course, wrote as a social philosopher. His work goes on to categorize the play element in cultural activities such as politics, art, music, games, and so on. If it is not limited to sport or the make-believe activities of children, what is play? How is it (if this is not entirely the wrong word) practised? If, for example, we went back to the dinner party, would the people there be able to identify what they had just done as play? Nor do my recollections of work, either as a secretary or later as a postgrad, bear out the complete separate-ness of play which Huizinga proposed. Rather, while the diversionary element is retained, for adults at least, play seems to be largely embedded in the stream of work, often occuring in a workspace, during worktime. Play for adults is a quick game of solitaire while answering a phone enquiry, netsurfing while the photocopier runs, or a bitchy (but fortunately silent) IRC chat with another worker, even in the same office. It is far more like de Certeau's notion of la perruque, though necessarily less productive. Kirsty Leishman's article about working in a convenience store bears out my initial feeling that most people's experience of play -- in their day-to-day lives at least, rather than on holidays (another can of worms entirely) -- consists of playful acts or moments, rather than Huizinga's "acts apart". Play, however, is consistently discursively constructed as the opposite of work. As such, it has a place in our thinking about creativity, but there remains a degree of suspicion with which we regard creative work, and even creative work-places. For example, Pixar, the company who (with Disney) created the computer-animated features Toy Story (1995) and A Bug's Life (1998), is described thus: "at Pixar, Steve Jobs' animation house in nearby Richmond, the mood is quirky and relentlessly upbeat ... . On a typical workday, employees' kids and pets roam the halls. 'Work hard and play hard, and in between time you're flying down the hall on a scooter,' says Pixar's head recruiter, Rachel Hannah." A number of significant elements appear to emerge from this description. The first is the description of Pixar as an animation "house", relating it back to the domestic, the realm of the private, the realm of play (as opposed to the public realm of work). This is underlined by the association with children (who are free to play) and pets (more domesticity -- and of course, what you do with your pet, usually, is to play with it). Working at Pixar (especially compared to work in university admin, or a convenience store) can hardly amount to work at all. It's too much fun. Clearly, in mobilising this kind of discourse, Pixar seeks to enhance its reputation for creativity. In that particular industry, such a discourse has two functions. One is to enhance the "fun" and child-appropriate-ness of the films in a marketing arena. The other, however, disguises the very real, very mundane and very tedious work that actually goes into computer animation (not to mention Disney's well-known corporate bastardry), which, objectively, is far more like factory production than we would like to think. The technology of these productions is always discussed; the work of production is never mentioned. For example, another review of Toy Story claims that rendering the film took "800,000 computer hours", but makes no mention of how many people worked for how long to operate those computers. Thus, descriptions of animation workplaces as playgrounds feed into the "magic" discourses which are traditionally associated with animation. One's first instinct is to disbelieve the above type of description of a workplace as mere "publicity", as a lie constructed to perpetuate the conditions of production. As Smoodin points out, the technological and creative discourses around animation embody one of the "paradoxes of capitalist mythology: industry becomes a wonderland and work turns into fun, while at the same time workers disappear" (96). Academic use of the notion of play picks up on this suspicion, and propagates the discursive division between work and play. Our good leftist assessments of power structures would suggest that there is no room for play in the workplace. There is even less room, presumably, for fun. Fun is a notion fairly effectively erased from academic discourse, as Rutsky has pointed out. Rather, academic use of "play" to describe the structure and nature of texts such as IRC chat, or animated films, turns play into a kind of legitimated "not-work". Unfortunately, it becomes not-fun as well. The problem is that the above descriptions of "work" in an animation studio may be more or less accurate. Certainly, there is a lot of tedious work in animation, but the animation houses I have visited (including Disney Studios in Sydney) are playful places. They do involve loud music, people who dress funny, visiting dogs and an abundance of what can only be described as toys. (Admittedly, some of these 'toys' are very big, cost hundreds of thousands of dollars and are produced by Silicon Graphics.) Similarly, my work as an academic pretty well fits Huizinga's definition of play, with the exception, again, of a separateness in time and space (I am, after all, writing at home on a console still Tetris-warm). And, while the kind of play performed by secretaries and convenience-store clerks in their workplaces might be a fairly desultory kind of play, with a somewhat subdued sense of "fun", it is play nonetheless. It seems that the divide between work and play is perhaps less clear in our lived experiences than it is in our writings. The fuzziness of the divide -- and the determination to maintain its existence, if only academically -- is something deserving of further attention. References De Certeau, Michel. The Practice of Everyday Life. Trans. Steven Rendall. Berkeley: U of California P, 1984. Huizinga, Johan. Homo Ludens: A Study of the Play Element in Culture. 1949. Trans. George Steiner. London: Paladin, 1970. Johnson, Brian D. "Toy Story." Rev. of Toy Story, dir. John Lasseter. Maclean's 11 Dec. 1995: 74. "Mr Creosote Sketch". Monty Python's The Meaning of Life. Dir. Terry Jones. Perf. John Cleese, Terry Jones. Celandine Films, 1983. Rutsky, R. L., and Justin Wyatt. "Serious Pleasures: Cinematic Pleasure and the Notion of Fun." Cinema Journal 30.1 (1990): 3-19. Smoodin, E. Animating Culture: Hollywood Cartoons from the Sound Era. Oxford: Roundhouse, 1993. Citation reference for this article MLA style: Rebecca Farley. "How Do You Play?" M/C: A Journal of Media and Culture 1.5 (1998). [your date of access] <http://www.uq.edu.au/mc/9812/how.php>. Chicago style: Rebecca Farley, "How Do You Play?," M/C: A Journal of Media and Culture 1, no. 5 (1998), <http://www.uq.edu.au/mc/9812/how.php> ([your date of access]). APA style: Rebecca Farley. (1998) How do you play? M/C: A Journal of Media and Culture 1(5). <http://www.uq.edu.au/mc/9812/how.php> ([your date of access]).

Engagement in any capacity with mainstream media since mid-2001 has meant immersion in the cross-platform, multimedia phenomenon of Harry Potter: Muggle outcast; boy wizard; corporate franchise. Consumers even casually perusing contemporary popular culture could be forgiven for suspecting they have entered a MÃbius loop in which Harry Potter-related media products and merchandise are ubiquitous: books; magazine cover stories; newspaper articles; websites; television specials; hastily assembled author biographies; advertisements on broadcast and pay television; children's merchandising; and theme park attractions. Each of these media commodities has been anchored in and cross-promoted by America Online-Time Warner's (AOL-TW) first instalment in a projected seven-film sequence—Harry Potter and the Philosopher's Stone.1 The marketing campaign has gradually escalated in the three years elapsing between AOL-TW subsidiary Warner Bros' purchase from J.K. Rowling of the film and merchandising rights to the first two Harry Potter books, and the November 2001 world premiere of the film (Sherber 55). As current AOL-TW CEO Richard Parsons accurately forecast, "You're not going to be able to go anywhere without knowing about it. This could be a bigger franchise than Star Wars" (Auletta 50). Yet, AOL-TW's promotional strategy did not limit itself to creating mere awareness of the film's release. Rather, its tactic was to create an all-encompassing environment structured around the immense value of the Harry Potter brand—a "brand cocoon" which consumers do not so much enter and exit as choose to exist within (Klein 2002). In twenty-first-century mass marketing, the art is to target affluent consumers willing to direct their informational, entertainment, and consumption practices increasingly within the "walled garden" of a single conglomerate's content offerings (Auletta 55). Such an idealised modern consumer avidly samples the diversified product range of the parent conglomerate, but does so specifically by consuming multiple products derived from essentially the same content reservoir. Provided a match between consumer desire and brand can be achieved with sufficient accuracy and demographic breadth, the commercial returns are obvious: branded consumers pay multiple times for only marginally differentiated products. The Brand-Conglomerate Nexus Recyclable content has always been embraced by media industries, as cultural commodities such as early films of stage variety acts, Hollywood studio-era literary adaptations, and movie soundtrack LPs attest. For much of the twentieth century, the governing dynamic of content recycling was sequential, in that a content package (be it a novel, stage production or film) would succeed in its home medium and then, depending upon its success and potential for translation across formats, could be repackaged in a subsequent medium. Successful content repackaging may re-energise demand for earlier formatting of the same content (as film adaptations of literary bestsellers reliably increase sales of the originating novel). Yet the cultural industries providing risk capital to back content repackaging formerly required solid evidence that content had achieved immense success in its first medium before contemplating reformulations into new media. The cultural industries radically restructured in the last decades of the twentieth century to produce the multi-format phenomenon of which Harry Potter is the current apotheosis: multiple product lines in numerous corporate divisions are promoted simultaneously, the synchronicity of product release being crucial to the success of the franchise as a whole. The release of individual products may be staggered, but the goal is for products to be available simultaneously so that they work in aggregate to drive consumer awareness of the umbrella brand. Such streaming of content across parallel media formats is in many ways the logical culmination of broader late-twentieth-century developments. Digital technology has functionally integrated what were once discrete media operating platforms, and major media conglomerates have acquired subsidiaries in virtually all media formats on a global scale. Nevertheless, it remains true that the commercial risks inherent in producing, distributing and promoting a cross-format media phenomenon are vastly greater than the formerly dominant sequential approach, massively escalating financial losses should the elusive consumer-brand fit fail to materialise. A key to media corporations' seemingly quixotic willingness to expose themselves to such risk is perhaps best provided by Michael Harkavy, Warner Bros' vice-president of worldwide licensing, in his comments on Warner Music Group's soundtrack for the first Harry Potter film: It will be music for the child in us all, something we hope to take around the world that will take us to the next level of synergy between consumer products, the [AOL-TW cable channel] Cartoon Network, our music, film, and home video groups—building a longtime franchise for Harry as a team effort. (Traiman 51) The relationship between AOL-TW and the superbrand Harry Potter is essentially symbiotic. AOL-TW, as the world's largest media conglomerate, has the resources to exploit fully economies of scale in production and distribution of products in the vast Harry Potter franchise. Similarly, AOL-TW is pre-eminently placed to exploit the economies of scope afforded by its substantial holdings in every form of content delivery, allowing cross-subsidisation of the various divisions and, crucially, cross-promotion of the Harry Potter brand in an endless web of corporate self-referentiality. Yet it is less frequently acknowledged that AOL-TW needs the Harry Potter brand as much as the global commercialisation of Harry Potter requires AOL-TW. The conglomerate seeks a commercially protean megabrand capable of streaming across all its media formats to drive operating synergies between what have historically been distinct commercial divisions ("Welcome"; Pulley; Auletta 55). In light of AOL-TW's record US$54.2b losses in the first quarter of 2002, the long-term viability of the Harry Potter franchise is, if anything, still more crucial to the conglomerate's health than was envisaged at the time of its dot.com-fuelled January 2000 merger (Goldberg 23; "AOL" 35). AOL-TW's Richard Parsons conceptualises Harry Potter specifically as an asset "driving synergy both ways", neatly encapsulating the symbiotic interdependence between AOL-TW and its star franchise: "we use the different platforms to drive the movie, and the movie to drive business across the platforms" ("Harry Potter" 61). Characteristics of the Harry Potter Brand AOL-TW's enthusiasm to mesh its corporate identity with the Harry Potter brand stems in the first instance from demonstrated consumer loyalty to the Harry Potter character: J.K. Rowling's four books have sold in excess of 100m copies in 47 countries and have been translated into 47 languages.2 In addition, the brand has shown a promising tendency towards demographic bracket-creep, attracting loyal adult readers in sufficient numbers to prompt UK publisher Bloomsbury to diversify into adult-targeted editions. As alluring for AOL-TW as this synchronic brand growth is, the real goldmine inheres in the brand's potential for diachronic growth. From her first outlines of the concept, Rowling conceived of the Potter story as a seven-part series, which from a marketing perspective ensures the broadscale re-promotion of the Harry Potter brand on an almost annual basis throughout the current decade. This moreover assists re-release of the first film on an approximately five-year basis to new audiences previously too young to fall within its demographic catchment—the exact strategy of "classic" rebranding which has underwritten rival studio Disney's fortunes.3 Complementing this brand extension is the potential to grow child consumers through the brand as Harry Potter sequels are produced. Harry Potter and the Philosopher's Stone director Chris Columbus spruiks enthusiastically that "the beauty of making these books into films is that with each one, Harry is a year older, so [child actor] Daniel [Radcliffe] can remain Harry as long as we keep making them" (Manelis 111). Such comments suggest the benefits of luring child consumers through the brand as they mature, harnessing their intense loyalty to the child cast and, through the cast, to the brand itself. The over-riding need to be everything to everyone—exciting to new consumers entering the brand for the first time, comfortingly familiar to already seasoned consumers returning for a repeat hit—helps explain the retro-futuristic feel of the first film's production design. Part 1950s suburban Hitchcock, Part Dickensian London, part Cluny-tapestry medievalism, part public school high-Victorianism, Harry Potter and the Philosopher's Stone strives for a commercially serviceable timelessness, in so doing reinforcing just how very twenty-first-century its conception actually is. In franchise terms, this conscious drive towards retro-futurism fuels Harry Potter's "toyetic potential" (Siegel, "Toys" 19). The ease with which the books' complex plots and mise-en-scene lend themselves to subsidiary rights sales and licensed merchandising in part explains Harry Potter's appeal to commercial media. AOL-TW executives in their public comments have consistently stayed on-message in emphasising "magic" as the brand's key aspirational characteristic, and certainly scenes such as the arrival at Hogwarts, the Quidditch match, the hatching of Hagrid's dragon and the final hunt through the school's dungeons serve as brilliant advertisements for AOL-TW's visual effects divisions. Yet the film exploits many of these "magic" scenes to introduce key tropes of its merchandising programme—Bertie Bott's Every Flavour Beans, chocolate frogs, Hogwarts house colours, the sorting hat, Scabbers the rat, Hedwig, the Remembrall—such that it resembles a series of home shopping advertisements with unusually high production values. It is this railroading of the film's narrative into opportunities for consumerist display which leads film critic Cynthia Fuchs to dub the Diagon Alley shopping scene "the film's cagiest moment, at once a familiar activity for school kid viewers and an apt metaphor for what this movie is all about—consumption, of everything in sight." More telling than the normalising of shopping as filmic activity in Harry Potter and the Philosopher's Stone is the eclipse of the book's checks on commodity fetishism: its very British sensitivity to class snubs for the large and impecunious Weasley family; the puzzled contempt Hogwarts initiates display for Muggle money; the gentle ribbing at children's obsession with branded sports goods. The casual browser in the Warner Bros store confronted with a plastic, light-up version of the Nimbus 2000 Quidditch broomstick understands that even the most avid authorial commitment to delimiting spin-off merchandise can try the media conglomerate's hand only so far. Constructing the Harry Potter Franchise The film Harry Potter and the Philosopher's Stone constitutes the indispensable brand anchor for AOL-TW's intricate publicity and sales strategy around Harry Potter. Because content recycling within global media conglomerates is increasingly lead by film studio divisions, the opening weekend box office taking for a brand-anchoring film is crucial to the success of the broader franchise and, by extension, to the corporation as a whole. Critic Thomas Schatz's observation that the film's opening serves as "the "launch site" for its franchise development, establishing its value in all other media markets" (83) highlights the precariousness of such multi-party financial investment all hinging upon first weekend takings. The fact that Harry Potter and the Philosopher's Stone broke (then standing) box office records with its 16 November 2001 three-day weekend openings in the US and the UK, garnering US$93.2m and GBP16m respectively, constituted the crucial first stage in AOL-TW's brand strategy (Collins 9; Fierman and Jensen 26). But it formed only an initial phase, as subsequent content recycling and cross-promotion was then structured to radiate outwards from this commercial epicentre. Three categories of recycled AOL-TW Harry Potter content are discernible, although they are frequently overlapping and not necessarily sequential. The first category, most closely tied to the film itself, are instances of reused digital content, specifically in the advance publicity trailer viewable on the official website, and downloads of movie clips, film stills and music samples from the film and its soundtrack.4 Secondly, at one remove from the film itself, is AOL-TW's licensing of film "characters, names and related indicia" to secondary manufacturers, creating tie-in merchandise designed to cross-promote the Harry Potter brand and stoke consumer investment (both emotional and financial) in the phenomenon.5 This campaign phase was itself tactically designed with two waves of merchandising release: a September 2000 launch of book-related merchandise (with no use of film-related Harry Potter indicia permitted); and a second, better selling February 2001 release of ancillary products sporting Harry Potter film logos and visual branding which coincided with and reinforced the marketing push specifically around the film's forthcoming release (Sherber 55; Siegel, "From Hype" 24; Lyman and Barnes C1; Martin 5). Finally, and most crucial to the long-term strategy of the parent conglomerate, Harry Potter branding was used to drive consumer take up of AOL-TW products not generally associated with the Harry Potter brand, as a means of luring consumers out of their established technological or informational comfort zones. Hence, the official Harry Potter website is laced with far from accidental offers to trial Internet service provider AOL; TimeWarner magazines Entertainment Weekly, People, and Time ran extensive taster stories about the film and its loyal fan culture (Jensen 56-57; Fierman and Jensen 26-28; "Magic Kingdom" 132-36; Corliss 136; Dickinson 115); AOL-TW's Moviefone bookings service advertised pre-release Harry Potter tickets on its website; and Warner Bros Movie World theme park on the Gold Coast in Australia heavily promoted its Harry Potter Movie Magic Experience. Investment in a content brand on the scale of AOL-TW's outlay of US$1.4m for Harry Potter must not only drive substantial business across every platform of the converged media conglomerate by providing premium content (Grover 66). It must, crucially for the long run, also drive take up and on-going subscriptions to the delivery services owned by the parent corporation. Energising such all-encompassing strategising is the corporate nirvana of seamless synergy: between content and distribution; between the Harry Potter and AOL-TW brands; between conglomerate and consumer. Notes 1. The film, like the first of J.K. Rowling's books, is titled Harry Potter and the Sorcerer's Stone in the "metaphysics-averse" US ("Harry Potter" 61). 2. Publishing statistics sourced from Horn and Jones (59), Manelis (110) and Bloomsbury Publishing's Harry Potter website: http://www.bloomsburymagazine.com/harryp.... 3. Interestingly, Disney tangentially acknowledged the extent to which AOL-TW has appropriated Disney's own content recycling strategies. In a film trailer for the Pixar/Disney animated collaboration Monsters, Inc. which screened in Australia and the US before Harry Potter sessions, two monsters play a game of charades to which the answer is transparently "Harry Potter." In the way of such homages from one media giant to another, it nevertheless subtly directs the audience to the Disney product screening in an adjacent cinema. 4. The official Harry Potter film website is http://harrypotter.warnerbros.com. The official site for the soundtrack to Harry Potter and the Philosopher's/Sorcerer's Stone is: http://www.harrypottersoundtrack.com. 5. J.K. Rowling." A page and a half of non-negotiable "Harry Potter Terms of Use" further spells out prohibitions on use or modification of site content without the explicit (and unlikely) consent of AOL-TW (refer: http://harrypotter.warnerbros.com/cmp/te...). References "AOL losses 'sort of a deep disappointment'." Weekend Australian 18-19 May 2002: 35. Auletta, Ken. "Leviathan." New Yorker 29 Oct. 2001: 50-56, 58-61. Collins, Luke. "Harry Potter's Magical $178m Opening." Australian Financial Review 20 Nov. 2001: 9. Corliss, Richard. "Wizardry without Magic." Time 19 Nov. 2001: 136. Dickinson, Amy. "Why Movies make Readers." Time 10 Dec. 2001: 115. Fierman, Daniel, and Jeff Jensen. "Potter of Gold: J.K. Rowling's Beloved Wiz Kid hits Screensand Breaks Records." Entertainment Weekly 30 Nov. 2001: 26-28. Fuchs, Cynthia. "The Harry Hype." PopPolitics.com 19 Nov. 2001: n.pag. Online. Internet. 8 Mar. 2002. Available <http://www.poppolitics.com/articles/2001-11-19-harry.shtml>. Goldberg, Andy. 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Links http://www.bloomsburymagazine.com/harrypotter/muggles http://www.harrypottersoundtrack.com http://harrypotter.warnerbros.com http://www.poppolitics.com/articles/2001-11-19-harry.shtml http://www.abc.net.au/rn/talks/8:30/mediarpt/stories/s445871.htm http://harrypotter.warnerbros.com/cmp/terms.html Citation reference for this article MLA Style Murray, Simone. "Harry Potter, Inc." M/C: A Journal of Media and Culture 5.4 (2002). [your date of access] < http://www.media-culture.org.au/mc/0208/recycling.php>. Chicago Style Murray, Simone, "Harry Potter, Inc." M/C: A Journal of Media and Culture 5, no. 4 (2002), < http://www.media-culture.org.au/mc/0208/recycling.php> ([your date of access]). APA Style Murray, Simone. (2002) Harry Potter, Inc.. M/C: A Journal of Media and Culture 5(4). < http://www.media-culture.org.au/mc/0208/recycling.php> ([your date of access]).