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Littérature scientifique sur le sujet « Pixar Studios »

Auteur : Grafiati
Publié le 7 juin 2025
Mis à jour le 2 août 2025

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Articles de revues sur le sujet "Pixar Studios"

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Pedro, Paulo Rigoni Gasparini, Barros Vieira Keitiane, and de Oliveira Dias Murillo. "Disney's Pixar Animation Studios Acquisition Case: Revitalization or Trouble?" GPH-International Journal of Social Science and Humanities Research 8, no. 04 (2025): 46–57. https://doi.org/10.5281/zenodo.15365962.

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The work analyzes Pixar Animation Studios' history, including Disney's acquisition of Pixar in 2006. Pixar was founded in 1986 and is located in Emeryville, California. However, Pixar started its operations as part of the Lucasfilm division. Pixar has produced 28 movies, earning 23 Academy, 11 Grammy, and 10 Golden Globe awards. Obviously, Pixar revised Disney's creative process, but at what cost? We analyze the business negotiations, sequels, COVID-19 challenges, and financial struggles. Discussion and lessons learned comprise this article.
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Haswell, Helen. "To infinity and back again." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 24–40. http://dx.doi.org/10.33178/alpha.8.02.

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In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. La Luna (Enrico Casarosa) marks a pivotal shift in Pixar's short film canon by displaying hand-drawn artwork and man-made textures. Widely considered the innovators of computer-generated animation, Pixar is now experimenting with 2D animation techniques and with textures that oppose the clean and polished look of mainstream American animation. This article aims to outline the significant technological developments that have facilitated an organic aesthetic by suggesting
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Gowanlock, Jordan. "Animating Management: Nonlinear Simulation and Management Theory at Pixar." Animation 15, no. 1 (2020): 61–76. http://dx.doi.org/10.1177/1746847719898783.

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Existing scholarship finds that early industrialized animation studios sought to emphasize the unpredictable liveliness of creativity at their studios, while also demonstrating their ability to control and manage production through industrial management techniques that promoted regulation and efficiency. This article examines how this dynamic between unpredictability and control has been negotiated by digital animation studios since the early 1980s, with a focus on the way Pixar Animation Studios represents its management theory through popular books, business journal articles, DVD extras, and
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Bezerra, Camila Paschoal. "Criatividade S.A." Organicom 16, no. 31 (2019): 209–13. http://dx.doi.org/10.11606/issn.2238-2593.organicom.2019.159895.

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Este livro inventivo ilustra a fascinante narrativa contemplando detalhes sobre como a Pixar nasceu. Escrito por Ed Catmull, co fundador da Pixar Animation Studios e presidente da Pixar Animation e da Disney Animation, este livro permite aos leitores navegarem uma bonita jornada rumo à criatividade, comunicação e gestão.Esta narrativa única contém múltiplos exemplos sobre como a inovação pode ser gerenciada através de diversas metodologias e métricas.Certamente é uma excelente leitura que irá deliciar os entusiastas do entretenimento assim como especialistas em comunicação.
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Pizolati, Audrei. "SOUL." Revista Livre de Cinema 10, no. 4 (2024): 164–69. https://doi.org/10.5281/zenodo.10464916.

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Brydon, Suzan G. "“I’ve Got to Succeed, So She Can Succeed, So We Can Succeed”: Empowered Mothering, Role Fluidity, and Competition in Incredible Parenting." Social Sciences 7, no. 11 (2018): 215. http://dx.doi.org/10.3390/socsci7110215.

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The social influence of Disney discourse is difficult to ignore, as is their repetitive matricide and positioning of the patriarchal and heteronormative family model in their bloc.kbuster animated films. Yet, through its Pixar Animation Studios subsidiary, Disney has pushed progressively at the boundaries, not only in terms of animation artistry but also through the social topics explored. This study builds on previous research of male mothering in Finding Nemo by visiting the subsequent 11 Pixar animated films, with in-depth exploration of their most recent release, Incredibles 2. Ultimately,
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de Leonardis, Maria Chiara. "La creativitŕ fra tecnologia e management: riflessioni sul caso Pixar." IKON, no. 53 (February 2009): 323–63. http://dx.doi.org/10.3280/ikr2006-053012.

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- A new digital language of extreme technological refinement, able to tell stories of great emotional impact, has been generated by computer animation. Pixar Animation Studios is a production company that in few years has given a considerable push to 3D animation: they use the new technologies giving always a great importance to story. Their huge success attracted more and more the attention of a world- wide colossus like the Disney, who proposed different deals for coproduction and distribution. After various events, on January 24th, 2006, the Mouse House acquired Pixar, with an operation of
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Russo, Marc. "Shared cartoon style in CG animation to maximize empathy." Punctum. International Journal of Semiotics 10, no. 1 (2024): 205–28. https://doi.org/10.18680/hss.2024.0011.

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Major animation studios have found a way to enhance audience empathy through a more expressive character aesthetic, surpassing mere appeal. This new benchmark, the Pixar Peak, exists just before Uncanny Valley, where computer- generated (CG) animation can evoke a similar level of empathy as real humans. The shared expressive character aesthetics become apparent when comparing characters from various major studios. However, emotional connection with these characters is influenced by more than just their appearance. Factors such as character performance, cinematic techniques, and intricately des
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Surya, Safira Marta, Mila Faila Shofa, and Subandji Subandji. "Nilai-Nilai Karakter dalam Film Animasi UP Produksi Pixar Animation Studios." ABNA : Journal of Islamic Early Childhood Education 5, no. 2 (2024): 111–26. https://doi.org/10.22515/abna.v5i2.8922.

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Penelitian ini mengangkat permasalahan mengenai meningkatnya kasus yang menunjukkan penurunan nilai karakter di Indonesia dan banyaknya tayangan film animasi dengan adegan-adegan yang bersifat destruktif. Namun, tidak semua animasi bersifat destruktif, salah satu animasi yang bersifat konstruktif dalam membangun nilai karakter bagi anak adalah animasi UP. Oleh sebab itu penelitian ini bertujuan untuk menganalisis dan mendeskripsikan nilai-nilai karakter yang terkandung dalam film animasi UP produksi Pixar Animation Studios. Penelitian ini merupakan penelitian studi kepustakaan yang meneliti te
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Jiang, Weiyi. "Analyzing the Future of Pixar Based on the Current Status." Advances in Economics, Management and Political Sciences 102, no. 1 (2024): 159–64. http://dx.doi.org/10.54254/2754-1169/102/2024ed0061.

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Pixar Animation Studios is currently facing a challenging situation due to the intense competition in the animated film market. As a result, the study's purpose is to investigate how Pixar should develop in the future to get out of this predicament. To solve the research question, this article will discuss Pixar's achievements in animated films as a case study. The first reason for the problem is technological innovation. The suggestion is to develop the use of artificial intelligence (AI) and virtual reality (VR) in animated film production and formats. The second reason for the problem is co
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Thèses sur le sujet "Pixar Studios"

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McCulloch, Richard. "Towards infinity and beyond : branding, reputation, and the critical reception of Pixar Animation Studios." Thesis, University of East Anglia, 2013. https://ueaeprints.uea.ac.uk/48149/.

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American author and journalist Jonah Lehrer declared in 2012 that Pixar Animation Studios was ‘the one exception’ to the oft-cited maxim that, in Hollywood, ‘nobody knows anything.’ Patrick Goldstein of the Los Angeles Times spoke in similar terms in 2008, writing that, ‘critics and audiences are in agreement on one key thing: Nobody makes better movies than Pixar.’ Thirteen consecutive global box office successes and scores of industry awards would seem to suggest that Lehrer and Goldstein are correct. Yet it is important to recognise that such statements invariably refer to something intangi
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DE, LEONARDIS MARIA CHIARA. "FRA CREATIVITA' E INDUSTRIA: STRUTTURE NARRATIVE E COINVOLGIMENTO DELLO SPETTATORE NEI FILM PRODOTTI DA PIXAR ANIMATION STUDIOS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/253.

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Fra tutti i sistemi possibili per creare cinema, cioè per generare e riprodurre immagini percepite in movimento dall'occhio umano che le osserva, ve n'è uno che più di ogni altro ha offerto terreno alle avanguardie sperimentali, alla ricerca tecnologica e all'indagine estetica: si tratta del cinema d'animazione che crea il suo movimento ex nihilo. L'utilizzo della computer animation con le sue molteplici applicazioni ha fatto nascere un vero e proprio linguaggio digitale di estrema ricercatezza tecnologica, capace di raccontare storie dal grande impatto emotivo. In questo scenario la Pixar Ani
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DE, LEONARDIS MARIA CHIARA. "FRA CREATIVITA' E INDUSTRIA: STRUTTURE NARRATIVE E COINVOLGIMENTO DELLO SPETTATORE NEI FILM PRODOTTI DA PIXAR ANIMATION STUDIOS." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/253.

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Fra tutti i sistemi possibili per creare cinema, cioè per generare e riprodurre immagini percepite in movimento dall'occhio umano che le osserva, ve n'è uno che più di ogni altro ha offerto terreno alle avanguardie sperimentali, alla ricerca tecnologica e all'indagine estetica: si tratta del cinema d'animazione che crea il suo movimento ex nihilo. L'utilizzo della computer animation con le sue molteplici applicazioni ha fatto nascere un vero e proprio linguaggio digitale di estrema ricercatezza tecnologica, capace di raccontare storie dal grande impatto emotivo. In questo scenario la Pixar Ani
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Merijeau, Lucie. "Le cinéma d'animation et son image. Étude des pratiques industrielles et spectatorielles du cinéma d'animation américain contemporain. Le cas prototype de Pixar (1995-2010)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030137.

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Parce qu’ils sont les premiers à avoir réalisé un long métrage en images de synthèse, Toy Story, dont le succès artistique et populaire – qui ne se dément pas - a été le déclencheur d’un nouveau cycle de films d’animation, les studios d’animation Pixar occupent une place importante dans le paysage culturel actuel, et représentent une bonne opportunité d’étudier la manière dont les objets des industries culturelles sont créés et consommés. Au travers d’une étude du dessin animé américain, abordé du point de vue historique et esthétique, il s’agit tout d’abord de déterminer l’évolution du systèm
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Duran, Castells Jaume. "Narrativa audiovisual i cinema d'animació per ordinador." Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/1270.

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DE LA TESI:<br/><br/>Aquesta tesi doctoral estudia les relacions entre la narrativa audiovisual i el cinema d'animació per ordinador i fa una anàlisi al respecte dels llargmetratges de Pixar Animation Studios compresos entre 1995 i 2006.<br/><br/><I><br>This doctoral thesis studies the relations between the audio-visual narrative and the computer animation and makes an analysis of the full-lenght films of Pixar Animation Studios since 1995 to 2006.</I>
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Montoya, Rubio Alba. "Les pel·lícules musicals d’animació dels estudis Walt Disney: anàlisi de l’aparició i evolució dels elements recurrents a les cançons (1937-2010)." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/481959.

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Aquesta tesi estudia la música a les pel·lícules de Disney, concretament la configuració de les seves cançons, si hi ha uns patrons formals en la seva creació i disposició en un llargmetratge animat. A partir d’aquesta anàlisi, es pretén esbrinar si existeix el que sovint es denomina “la fórmula” Disney, segons la qual en aquestes pel·lícules sempre hi ha d’haver un determinat tipus de cançó amb uns trets molt definits. Per resoldre aquesta qüestió s’han analitzat un total de 34 pel·lícules, fent un especial èmfasi en els moments musicals i tots els elements que hi interactuen: la lletra, la i
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Kramer, Heidi Tilney. "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4525.

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With background information on militarism, nationalism, and torture, this study analyzes Monsters, Inc., Toy Story 3, and The Incredibles, three Pixar films released from 2001 through 2010, for the ways in which the torture scenes are framed. These frames, state control, prisons, and 60s spy thrillers, invite laughter through intertextuality, while deflecting attention from torture of central characters in the films. The implications of this analysis are: these films present torture as deserved and normative; the tortured characters stand outside the frames of recognition for humanness; and th
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Moggia, Mara. "Studio idrogeologico del sistema acquifero del parco metropolitano de “los Torunos y pinar de la Algaida” (provincia di Cadice, Spagna)." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018.

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Le nuove tecnologie hanno rivoluzionato l'acquisizione di dati dell'ambiente naturale fornendo così l’opportunità di lavorare con un quantitativo di informazioni nettamente superiore. La difficoltà principale è in fase di elaborazione, ma è migliorata la comprensione del funzionamento di sistemi idrologici complessi come le zone umide. L’area di studio è una delle cinque lagune presenti nel Parco Naturale Baia di Cadice. Si tratta di sistemi con ampia variabilità idrochimica (conduttività tra gli 800 ei 40.000 μS /cm) e il loro idroperiodo è condizionato dal clima, dalla topografia locale, dal
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Seal, Sarah Emily. ""Recuérdame": Un Análisis De La Memoria, Las Fronteras, Y La Busqueda De La Identidad En "COCO"." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555692913161845.

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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.

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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in cust
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Livres sur le sujet "Pixar Studios"

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Amidi, Amid. The art of Pixar: The complete color scripts and select art from 25 years of animation. Chronicle Books, 2011.

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Amidi, Amid. The art of Pixar: The complete color scripts and select art from 25 years of animation. Chronicle Books, 2011.

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Booker, M. Keith. Disney, Pixar, and the hidden messages of children's films. Praeger, 2010.

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Booker, M. Keith. Disney, Pixar, and the hidden messages of children's films. Praeger, 2009.

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Mobley, Robert P. The saga of Pilar: Condominios Pilar. R.P. Mobley, 2002.

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Bøyesen, Inge Lise. Pinar: En mødregruppe for unge tyrkiske kvinder. Sydjysk universitetsforlag, 1990.

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Chejter, Silvia. Una violación colectiva: 1989 "El Pinar", San Juan : violación y prensa escrita. Cecym, 1995.

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Mommy Sayang: Pixar Animation Studios Artist Showcase. Disney Press, 2019.

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Henri's Hats: Pixar Animation Studios Artist Showcase. Disney Press, 2018.

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Paik, Karen, John Lasseter, and Ed Catmull. To Infinity and Beyond!: The Story of Pixar Animation Studios. Chronicle Books LLC, 2015.

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Chapitres de livres sur le sujet "Pixar Studios"

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Gowanlock, Jordan. "Animating Management." In Palgrave Animation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_5.

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AbstractThis chapter studies how the management theory of digital animation studios like Pixar Animation has been influenced by the paradigms that premise their unpredictable algorithmic animations. This epistemic frame leads Pixar to represent creativity as the unpredictable product of carefully controlled conditions and parameters. This collapse of technology, animation, and management science helps to sculpt Pixar’s own corporate image as both an animation studio and a technology company. These findings nuance existing accounts of post-Fordist labor in creative industries.
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Brereton, Pat. "Smart Green/Nature Animation: Case Studies of Pixar – Wall-E, UP and Toy Story." In Smart Cinema, DVD Add-Ons and New Audience Pleasures. Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137027085_8.

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Holliday, Christopher, and Chris Pallant. "Lucas Meets Luxo." In Lucas. University Press of Kentucky, 2024. http://dx.doi.org/10.5810/kentucky/9781985900103.003.0013.

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This chapter charts the industry narratives and creative collaborations that shaped the emergence and transformation of Pixar Animation Studios from a research and development group in the late-1970s into a hugely successful animation studio. Supported by first-hand interviews with key personnel such as Alvy Ray Smith and Steve Segal (a former Pixar animator), alongside an analysis of the work made during Pixar's early Lucasfilm period, it seeks to highlight the industrial, technological and aesthetic importance of the Lucas-era phase to Pixar. By focusing on the labor, creativity and technolo
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Avila, Jacqueline, and Juan Fernando Velásquez Ospina. "Imagineering con Sabrosura." In The Oxford Handbook of the Disney Musical. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197633496.013.37.

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Abstract During the twentieth and twenty-first centuries, the on-screen representation of Latinx and Latin American people and cultures in Disney films and serials has had a complicated history based on stereotypes and exoticism. However, the increasing significance of Latinx and Latin American consumers in the cinematic market triggered a renewed interest on the part of the company to include characters and storylines that engage these communities with Disney and Pixar products. This chapter examines the history and the construction of Latinx and Latin American characters and cultures as repr
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SULLIVAN, K. "Making the Animated Short: An Interview with Andrew Jimenez, Pixar Animation Studios." In Ideas for the Animated Short with DVD. Elsevier, 2007. http://dx.doi.org/10.1016/b978-0-240-80860-4.50010-7.

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"4. Going Home . . . for the First Time: Pixar Studios, Digital Animation, and the Limits of Reflective Nostalgia." In Flickers of Film. Rutgers University Press, 2019. http://dx.doi.org/10.36019/9780813576046-007.

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Benhamou, Eve. "Animating the Digital Action-adventure Spectacle." In Contemporary Disney Animation. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474476126.003.0006.

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During the 2008–18 decade, Disney not only notably revised the studio’s formula of fairy-tale romance but also ventured into and re-envisioned action-adventure cinema. This chapter specifically illuminates how the studio reframed the digital action-adventure spectacle, expanding the generic scope of its constructed formula in the process. Relying on Bolt, Wreck-It Ralph, Big Hero 6 and Moana as case studies, this chapter focuses on the three most distinctive layers of this reworking. At the surface level, these films remarkably and humorously reproduce the dazzling visuals of live-action actio
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Lescher, Mary E. "Postscript." In The Disney Animation Renaissance. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0007.

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The postscript gives some details of what happened with Walt Disney Feature Animation after the close of the Florida studio, including the acquisition of Pixar in 2006. Also, the animation industry in general is showing signs of hand-drawn animation returning to prominence, although artists are now drawing directly into the computer (via tools like the Cintiq) rather than on cels.
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Benhamou, Eve. "Animating a Formula: Disney, Genre and Hollywood Animation." In Contemporary Disney Animation. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474476126.003.0002.

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This chapter investigates the transitional phase, at times tumultuous and experimental, of Disney’s history, from the mid-1990s to the late 2000s. It examines how profound industrial changes, both within Disney and in the wider mainstream animation landscape, impacted the studio’s animated output, and most specifically its generic identity and associated formula. Analysing this period provides key context to subsequently address the focus of the book, namely the animated films released from 2008 onwards. The mid-1990s and 2000s exemplify Disney’s continuous efforts to reinvent itself, yet are
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Von Axelson, Jens, Sandra Mattsson, and Björn Langbeck. "Planning for Nation Wide Dissemination of Robotics to SMEs." In Advances in Transdisciplinary Engineering. IOS Press, 2020. http://dx.doi.org/10.3233/atde200150.

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This paper describes how a special assignment from the Swedish government was carried out to support small and medium sized enterprises in implementing automation and robotics. The focus of this paper is to investigate i) how insights and knowledge has been transferred and ii) how the ability of integrators and advisors has been increased. Within the project Pilot project automation challenge in the robot leap (PILAR), 84 pre-studies and 40 in-depth studies were carried out. In PILAR a methodology was developed, and a way of working was tested where coaches in four regionally defined nodes in
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Actes de conférences sur le sujet "Pixar Studios"

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Weber, Karon, and Kitt Hirasaki. "Interaction design at Pixar Animation Studios." In CHI '00 extended abstracts. ACM Press, 2000. http://dx.doi.org/10.1145/633292.633413.

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Castells, Jaume Duran, and David Fonseca Escudero. "Disabled personages in the full-length films of Pixar animation studios (1995-2006)." In the 1st ACM SIGMM international workshop. ACM Press, 2009. http://dx.doi.org/10.1145/1631097.1631102.

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Wang, Miaomiao. "“Combining Education With Entertainment” and “Truth, Goodness and Beauty” in Animated Films: Enlightenment from Pixar Animated Films." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.091.

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Vidia Putra, Valentinus Galih, and Andrian Wijayono. "SUATU STUDI AWAL MODIFIKASI SIFAT PEMBASAHAN PADA PERMUKAAN KAIN TEKSTIL POLIESTER 100% MENGGUNAKAN TEKNOLOGI PLASMA PIJAR KORONA." In SEMINAR NASIONAL FISIKA 2019 - FMIPA UNJ. Fisika & Pendidikan Fisika FMPA UNJ, 2019. http://dx.doi.org/10.21009/03.snf2019.02.pa.03.

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Smith, Vivianne C., and Joel Pokorny. "Hue and saturation matching of the Bezold-Brucke phenomenon: the effect of equiluminant surrounds." In OSA Annual Meeting. Optica Publishing Group, 1992. http://dx.doi.org/10.1364/oam.1992.tuc5.

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In the majority of studies of the Bezold–Brucke phenomenon, the observers have matched spectral stimuli of disparate luminance in hue by a wavelength adjustment. We used an asymmetric matching technique to match stimuli of disparate luminance in hue and saturation. We used a PIXAR imaging system to generate 28 equiluminant (110 effective td) colors on a Sony monitor. Two rectangular stimuli (1.3° × 2°) were presented, one to each eye, in a haploscope. One stimulus was reduced in luminance by placing a 1-log-unit filter before one eye. The observer adjusted the hue and saturation of the brighte
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Maseda Rego, F. Javier, Itziar Martija López, Patxi Alkorta Egiguren, Izaskun Garrido Hernández, and Aitor J. Garrido Hernández. "WOMEN IN ENGINEERING, FACULTY OF ENGINEERING IN BILBAO." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end124.

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The situation of women in the engineering world has different aspects. On the one hand, it can be stated that women are well received in certain areas of the technological world, and they are very integrated into academia. In other areas, such as the world of industrial business, recognition is more complex being those less open environments. Last century, the woman who broke the taboo in Spain was the mayor of Bilbao and the first industrial engineer graduated in Spain in 1912, Pilar Careaga. By means of her public presence, her message could reach the general society, but as something except
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Rapports d'organisations sur le sujet "Pixar Studios"

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Berkström, Charlotte, Patrik Kraufvelin, Edmond Sacre, and Ulf Bergström. Konnektivitet och fysisk påverkan i kustvatten : en sammanställning över kunskapsläget och förslag till revidering av bedömningsgrund. Department of Aquatic Resources, Swedish University of Agricultural Sciences, 2024. http://dx.doi.org/10.54612/a.18qgh1vuac.

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Konnektivitet i kustvatten beskrivs som möjligheten för djur, växter, sediment och organiskt material att sprida sig och passera fritt mellan det öppna havet och kusten, längsgående i kustområden och mellan kustområden och inlandsvatten. Då konnektiviteten har en betydande och bred påverkan på det biologiska, fysikalisk-kemiska, och det hydromorfologiska tillståndet i kustoch havsmiljön, ingår den som en kvalitetsfaktor för bedömning av ekologisk status av ytvatten i kustzonen. Beskrivningen av konnektivitet och hur den ska bedömas i kustzonen är knapphändig i Havs- och vattenmyndighetens före
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Thor, Peter, Karin Olsson, Håkan Wennhage, et al. Marina miljön i 8+fjordar – nuvarande kunskap om ekosystemet och de mänskliga belastningarna. Department of Aquatic Resources, Swedish University of Agricultural Sciences, 2023. http://dx.doi.org/10.54612/a.utn1p1g09m.

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8+fjordar-området är topografiskt väldigt varierande. Vattenutbytet är långsamt och tillförseln av näringsämnen stor. Största delen av näringsämnen stannar kvar i fjordarna. Mest i Havstens- och Hakefjordar där 40-50 % av den lokala näringstillförseln stannar kvar. Utsläppen från jordbruk och skogsbruk är stora i 8+fjordar-området. T.ex. står dessa för 62 % av kvävetillförseln och 69 % av fosfortillförseln till Byfjorden. Men utsläpp från punktkällor direkt till havet är också betydande (21 % av kvävetillförseln och 19 % av fosfortillförseln till Byfjorden). Man har genom en mängd olika tillta
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