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Articles de revues sur le sujet « Pixar Studios »

Auteur : Grafiati

Publié le 7 juin 2025

Mis à jour le 2 août 2025

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1

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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Luna, Marta Izarra de, and Roberto Gelado Marcos. "Disney Reloaded: Pixar’s Influence on the Evolution of Disney Animation Feature Films (1994–2018)." Journalism and Media 5, no. 4 (2024): 1452–76. http://dx.doi.org/10.3390/journalmedia5040091.

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Disney animation studios created and subsequently shaped the animation genre for the last two-thirds of the 20th century, but the appearance of Pixar in the industry and their unstoppable success changed the rules of the game. (1) Apart from a new and revolutionary technology, Pixar introduced a new type of storytelling in animation based on characters and stories that we believe ended up tremendously influencing Disney’s storytelling starting in 2006, when the big animation studio purchased its most threatening competitor. Our study also tries to shed some light on whether the changes happene

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

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

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Hu, Tengfei. "The Construction of Multimodal Metaphors in Animation: An Example from "Soul"." International Journal of Linguistics, Literature and Translation 8, no. 2 (2025): 109–15. https://doi.org/10.32996/ijllt.2025.8.2.13.

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Pixar Animation Studios is currently one of the most influential animation studios in the world, and every year Pixar animation is an Oscar favorite. Soul, which won the 78th Golden Globe Award for Best Animated Feature, is one of Pixar’s best works. The film tells the story of the main character Joe, who learns that following his heart is the greatest meaning of life in the process of pursuing his dream of playing jazz. And it is loved by audiences for its profound themes and the film’s combination of the reality of the times and imaginary fiction, which conveys metaphorical connotations in c

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Azizah, Siti Nur, and Choeriah Pramadanti. "Karakter Tokoh Utama Film Animasi “Turning Red” Karya Domee Shi." Literature Research Journal 1, no. 1 (2023): 104–13. http://dx.doi.org/10.51817/lrj.v1i1.394.

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The purpose of this research is to describe the main character in the animated film "Turning Red" which will be released by Pixar Animation Studios and Walt Disney Pictures in 2022. This research is descriptive qualitative research. The data in this study is in the form of dialogue with the main character based on a literary psychology approach. Data collection is done by documentation techniques. Triangulation of sources, techniques, and theory is very important to ensure the validity of this research. The results showed: 1) Mei Lee showed all three personality structures, with 7 data of Id,

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van Rooij, Malou. "Carefully Constructed Yet Curiously Real: How Major American Animation Studios Generate Empathy Through a Shared Style of Character Design." Animation 14, no. 3 (2019): 191–206. http://dx.doi.org/10.1177/1746847719875071.

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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 O

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Yan, Xuya. "Beyond Toy Story: Pixar's Business and Marketing Strategies for Enduring Success in Entertainment." Highlights in Business, Economics and Management 41 (October 15, 2024): 335–40. http://dx.doi.org/10.54097/9t4h1833.

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As the animated film industry continues to grow, many companies are faced with a lack of content innovation and character innovation, and some companies continue to experience a decline in market competitiveness as well as an increase in investment risk as a result. However, Pixar Animation Studios, a subsidiary of the Disney Group, has created a series of classics through its compelling storytelling and superior animation techniques, which have not only won wide acclaim from audiences around the world, but also continue to set box office records. These achievements perfectly reflect Pixar’s i

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Da Cruz Gonçalves Neto, João. "A pedagogia conservadora do cinema de animação: Os Incríveis (Pixar, 2004)." Revista Interdisciplinar de Direitos Humanos 9, no. 2 (2021): 231–49. http://dx.doi.org/10.5016/ridh.v9i2.108.

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Resumo: Uma das mais poderosas formadoras do imaginário coletivo contemporâneo é a indústria cultural e, como produto privilegiado em termos de acesso a ele, há as animações voltadas principalmente para o público infantil produzidas por grandes estúdios de cinema, como a Pixar / Disney. Como contos de fada modernos, suas histórias remetem a belas mensagens morais, como a amizade, a solidariedade, a persistência, o respeito e outros valores edificantes, mas veiculados por mensagens políticas de força pedagógica essencialmente conservadoras ou reacionárias. Decodificar essas mensagens políticas

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Erkiaga, Aimar. "Kachau! Manipulazio mediatikoa, gorroto diskurtsoa eta gizarte kritika Pixaren zineman: Cars 2 [John Lasseter eta Brad Lewis, 2011] kasua." IkerGazte. Nazioarteko ikerketa euskaraz 2 (May 30, 2025): 43–50. https://doi.org/10.26876/ikergazte.vi.02.05.

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Idazmahaiko lanpara baten bitartez irudikatuta, Pixar Animation Studios XXI. mendeko animaziozko zinemaren erreferente popular eta ekonomiko bihurtu da. Semiotika metodologiatzat baliatuz, ikerketalan honek bi helburu nagusi planteatzen ditu: hasteko eta behin, irakurle eta ikusle ororentzat ezagunak diren filma eta gaiak landuko dituen ikerketa bat egin nahi da. Hori lortzeko, eta bigarren helburutzat, ohiko zinema-ikuslearentzat ukigarriak diren Pixarren filmek plazaratzen duten izaera alegorikoa kontuan izan eta bizi garen gizartearen inguruan irudikatzen diren manipulazio mediatikoa, gorro

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Wahyuni Esiyansyah, Tulus Rega. "MAKNA PERSAHABATAN DALAM FILM LUCA MELALUI PENDEKATAN SEMIOTIKA FERDINAND DE SAUSSURE." JURNAL Dasarrupa: Desain dan Seni Rupa 5, no. 3 (2024): 22–29. http://dx.doi.org/10.52005/dasarrupa.v5i3.168.

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Penelitian ini bertujuan untuk menganalisis makna persahabatan dalam film animasi Luca yang merupakan film hasil kolaborasi antara Pixar Animation Studios dan Walt Disney Studios. Metode yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan analisis pendekatan semiotika Ferdinand de Saussure. Teknik analisis data dalam penelitian ini menggunakan langkah-langkah: 1) Menonton dan memperhatikan detail dari keseluruhan film Luca yang berdurasi 95 menit; 2) Pengambilan serta pemotongan adegan atau scene yang berupa dialog ataupun tindakan yang berhubungan dengan objek yang akan pe

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Cuenca Orellana, Nerea. "Los arquetipos narrativos tradicionales en las películas destinadas al público infantil: Pixar Animation Studios (1995-2015)." Revista de la Asociación Española de Investigación de la Comunicación 6, no. 12 (2019): 81–94. http://dx.doi.org/10.24137/raeic.6.12.10.

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Wojciechowska-Pieszko, Anna. "Translating intertextuality in animated films – an analysis of DreamWorks, Disney and Pixar animations." Polonica 42 (2022): 5–28. http://dx.doi.org/10.17651/polon.42.1.

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Intertextuality focuses on the relationship between different texts, either spoken or written. These connections have been the subject of research for many scholars around the world and initially were discussed mainly from the point of view of literary theory (Tomaszkiewicz, 2006, p. 175). The aim of this paper is to examine intertextual references in the context of translation theory, taking into account the various techniques and strategies employed when translating direct or indirect references in a dubbing format. The author analy-ses dialogues from the DreamWorks production “Shrek”(2001),

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

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

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Andrade, Isabella Martins, and Marta Varzim. "A study of color association in Pixar’s animations: an analysis of color based characters." South Florida Journal of Development 5, no. 9 (2024): e4348. http://dx.doi.org/10.46932/sfjdv5n9-013.

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This paper focuses on color and its use as an associative element to emotions, capable of conveying meanings and messages. This topic intends to explore the visual communication area as a means of investigation and analysis in communication design, focusing on studying the films by Pixar Animation Studios. Therefore, a statistical method was utilized based on the character’s colors and emotions. This way, a statistical correlation was generated using specific software for statistics. It was possible to identify the intensity of those correlations (strong, moderate, and weak). So, it was possib

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Zhou, Wenxuan. "Analysis of Two Representative Acquisition Deals in Media and Entertainment Industries." Advances in Economics, Management and Political Sciences 20, no. 1 (2023): 39–46. http://dx.doi.org/10.54254/2754-1169/20/20230170.

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The deals in the dynamic media and entertainment industries have been paid great attention to in recent years. One of the most valuable things that companies competed for was customers attention. Hence deals were made to provide unparalleled technologies or content. The case studies adopted in this study are objective and specific. Focusing on the analysis of two representative acquisition deals in the media and entertainment industries, this article gives a comprehensive introduction to Walt Disney Company, Pixar Animation Studios, Microsoft Corporation and Activision Blizzard, lists essentia

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López González, Rebeca Cristina. "Cortos de animación en la red para todos los públicos y género: temáticas y roles de siempre contados como nunca." Comunicación y Género 2, no. 2 (2019): 249–65. http://dx.doi.org/10.5209/cgen.66515.

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Este trabajo se centra en el discurso narrado por cuatro cortos de animación. Purl (2019) y Kitbull (2019), realizados por Pixar dentro del programa Sparkshorts, One Small Step (2018), creada por la incipiente Taiko Studios, y Hé Mademoiselle (2015), que proviene de la Escuela Superior de Artes y Oficios francesa ESMA. Todos estos trabajos comparten una serie de rasgos comunes, a pesar de su procedencia variada, que orientan su temática hacia el discurso de género. El núcleo de cada historia nos habla sobre el atemporal mundo femenino, pero como nunca se había contado hasta ahora. El objetivo

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Fonts González, Elisabet. "Revolución femenina en Pixar: La Influencia de Domee Shi y Turning Red en la Representación de Género y Diversidad en la Animación." Con A de animación, no. 20 (March 7, 2025): 76–97. https://doi.org/10.4995/caa.2025.22389.

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El artículo analiza Turning Red (Domee Shi, 2022), dirigida por Domee Shi, como un caso paradigmático en la evolución de la representación de género y diversidad en Pixar Animation Studios. A través de una metodología cualitativa que incluye revisión de literatura, análisis textual y visual, y estudio de caso, se examinan los elementos narrativos y simbólicos de la película. La transformación de Mei en un panda rojo gigante se explora como una metáfora de la pubertad, destacando la lucha por la autoaceptación. Además, se evalúa la influencia del anime en el estilo visual y la narrativa. Los re

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Emerald, Ananda Mirza, and E. Rizky Wulandari. "Representasi Komunikasi Interpersonal Orang Tua dan Anak dalam Film Animasi "Inside Out" Karya Pete Docter." DIGICOM : Jurnal Komunikasi dan Media 4, no. 3 (2024): 212–44. http://dx.doi.org/10.37826/digicom.v4i3.820.

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Emosional adalah reaksi normal yang terjadi pada manusia. Emosional erat kaitannya dengan ekspresi perasaan. Emosional adalah sifat yang hadir karena emosi. Secara umum, emosi adalah keadaan yang tidak dapat dikendalikan. Perasaan emosional merupakan suatu kondisi yang dapat mempengaruhi kehidupan sehari-hari. Namun, reaksi emosional adalah sesuatu yang juga bisa dikendalikan. Salah satu rumah studio asal Amerika Serikat yaitu Pixar Animation Studios ingin mencoba untuk lebih mengenal bagaimana emosi dapat dibentuk sejak dini melalui film animasi. Penelitian ini menganalisis mengenai represent

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

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

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

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

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Han, Xiaoyu. "A Study of Disney’s Business Development." SHS Web of Conferences 193 (2024): 01011. http://dx.doi.org/10.1051/shsconf/202419301011.

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The establishment of The Walt Disney Company can be traced back to the year 1923, when two brothers, Walt and Roy O. Disney, founded a small animation studio that has further developed into a global media organization through strategic innovation, diversification, and expansion. The paper analyses the business development of Disney by looking into its historical background, diversification policies, globalization, digital transformation, and its social and environmental responsibilities. Through the acquisition of big studios like Pixar, Marvel, and Lucasfilm as well as the launch of Disney+ s

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Al Adawiah, Robi’ah Aldiini, Zulfa Najwa Aulia, Choirum Miftah Rihhadatul 'Aisy, Nanda Aulia Zahrani, and Asya Aldiini Tasyarofa. "Behind The Wickedness: Portrayal of Villains in Children's Movies." Anaphora : Journal of Language, Literary, and Cultural Studies 7, no. 2 (2025): 133–52. https://doi.org/10.30996/anaphora.v7i2.12220.

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Children’s movies showed various characters in their movies. One of the concerns in creating stories for children was the portrayal of the villains. Therefore, the research problem of this study was to discussed the villain portrayal of three different home productions, such as Disney Animation Studios, Pixar Animation Studios, and Sony Pictures Animation. The movies from each home production were Namaari in Raya and the Last Dragon, Syndrome in The Incredibles (2004), and Chester V in Cloudy with a Chance of Meatballs 2. This study aimed to find a significant function of villains which were d

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Rahayu, Nurhadianty. "The Portrayal of Gender and Race in Cars Trilogy." ATAVISME 22, no. 1 (2019): 75–87. http://dx.doi.org/10.24257/atavisme.v22i1.532.75-87.

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As the most commercially successful animated film, Cars trilogy, produced by Pixar Animation Studios, are opted to be analysed due to its impact on formulating perception of gender and race. Considering that intolerance and gender-based injustice still happens within our society, any discussion about gender and race portrayal, particularly through films, becomes urgent. The study aims at investigating how gender and race are portrayed in Cars trilogy. Gender portrayal is analysed through Beauvoir’s concept of immanence and transcendence and Finklea’s themes about masculinities. The portrayal o

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Vivi Fauziah and Retno Purwani Sari. "Cultural Components of Film COCO: A Mexican Heritage Multicultural Culture." Proceeding of International Conference on Business, Economics, Social Sciences, and Humanities 6 (March 31, 2023): 862–74. http://dx.doi.org/10.34010/icobest.v4i.405.

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The aim of this study is to investigate the Mexican cultural components displayed in Pixar Animation Studios’ film Coco. This study examines how cultural practices and maintenances are issued and debated in Mexico, which is known for having the most cultural diversity in America. The study is based on Kennedy and Manohar’s cultural components theory. The qualitative method was used in this study, with note taking used to collect valid data. According to the findings, the film Coco contains seven types of Mexican cultural components: language, religion or belief, norms, cultural values, social

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Hewa, S. G. "‘Monsters’ vs. ‘Angels’: A Feminist Approach to the Film Brave Through the Character of Merida." Vidyodaya Journal of Humanities and Social Sciences 07, no. 01 (2022): 223–34. http://dx.doi.org/10.31357/fhss/vjhss.v07i01.14.

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Brave (2012) is an animated film produced by Pixar Animation Studios and released by Walt Disney pictures. Set in the fictional medieval times of Scotland, the story follows the journey of Merida, a rebellious young girl who strives to dismantle oppressive social norms and conventional attitudes upheld by her mother. The way in which the film presents powerful feminist ideologies is discussed by providing insight into the importance of solidarity between women, repressive gender stereotypes and the cyclical nature of oppression within the patriarchal social structure. The concept of gender and

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

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

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Dewi, Salma Tsabita, Indri Kustantinah, and Festi Himatu Karima. "An Analysis of Idiomatic Expressions in the Script of The Good Dinosaur Movie." Holistic Science 4, no. 3 (2024): 438–42. https://doi.org/10.56495/hs.v4i3.724.

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The aims of the study focused on analyzing the types and the meaning of idiomatic expressions in the script of The Good Dinosaur Movie proposed by the theory of McCarthy and O’Dell (2010). This study used a descriptive qualitative method. The data from this study were taken from the script of The Good Dinosaur movie produced by Pixar Animated studios and released by Walt Disney Picture. The data were analyzed by identifying the idiomatic expression in the movie script into 6 types and classifying the word in each type of idiomatic expression. The researcher classified words into idiomatic expr

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Fithri, Nuramalia, Siti Indah Lestari, and Noprita Elisabeth Sianturi. "ANALISIS SEMIOTIKA PADA POSTER FILM “INSIDE OUT”." Kreatif : Jurnal Karya Tulis, Rupa, Eksperimental dan Inovatif 5, no. 2 (2024): 81–90. http://dx.doi.org/10.53580/files.v5i2.66.

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Film Inside Out merupakan film animasi yang dirilis pada tahun 2015, disutradarai oleh Pete Docter dan diproduksi oleh Pixar Animation Studios. Poster Film yang memberikan gambaran tentang situasi perjalanan emosi dalam diri seorang anak perempuan bernama Riley yang pindah ke kota baru. Dalam poster terdapat beberapa karakter emosi seperti Joy, Sadness, Fear, Anger, dan Disgust. Poster di desain unik dan semenarik mungkin untuk mendapat perhatian para penonton. Setiap karakter memiliki penampilan unik dan warna mencolok, mencerminkan sifat dan emosi yang mereka tampilkan. Poster ini juga menam

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Dimas Saputra, Dimas Saputra. "Relevansi Simbolisme dan Nilai Budaya Tionghoa dalam Poster “Turning Red” oleh Emmanuel Elizabeth." Qualia: Jurnal Ilmiah Edukasi Seni Rupa dan Budaya Visual 5, no. 1 (2025): 77–85. https://doi.org/10.21009/qualia.51.09.

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The cultural elements in illustration are not a new phenomenon in the art world; symbolism and cultural values have long been integral to fine arts, culture, and visual arts. Even renowned animation studios like Disney Pixar consistently adopt this approach by incorporating cultural diversity from various countries into their animated works. For instance, in their latest animation, "Turning Red," they draw inspiration from Chinese culture as a primary element in its narrative and visualization. In this context, Immanuel Elizabeth, a student from Bandung Institute of Technology, has successfull

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Lins, Thais Mazotti, and Giovana Cordeiro Campos. "REFLEXÕES SOBRE O PROCESSO DE ADAPTAÇÕES CULTURAIS NO FILME DIVERTIDA MENTE." Trama 18, no. 45 (2023): 25–37. http://dx.doi.org/10.48075/rt.v18i45.30337.

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O processo de traduzir não envolve apenas palavras e expressões, mas também aspectos culturais dos texto-fonte e meta, lembrando que os Estudos da Tradução se fundam na proposta da tradução como processo histórico-social-cultural. Além disso, tendo em vista que os sentidos de um produto audiovisual são produzidos por meio da “leitura” não apenas do texto oral (falado), mas também das imagens e sons (músicas, cores, montagem, cortes etc.), cabe aos Estudos da Tradução refletirem sobre o modo como todo um conjunto de componentes é relacionado na obra fonte e como se dão essas relações na obra me

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

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

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Mochtoha, Himawan. "Analisis Penerapan Organisasi Pembelajaran pada PT Studio Mineral Batubara (SMB)." Jurnal Akuntansi, Ekonomi dan Manajemen Bisnis 12, no. 1 (2024): 19–25. http://dx.doi.org/10.30871/jaemb.v12i1.5248.

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Penelitian ini bertujuan untuk menganalisis bagaimana PT SMB menerapkan kerangka organisasi pembelajaran. Organisasi pembelajar terdiri dari tiga pilar; pertama, lingkungan yang mendukung pembelajaran, kedua proses dan praktik pembelajaran yang konkret, dan ketiga adalah kepemimpinan yang mendukung pembelajaran. Studi ini dirancang sebagai penelitian deskriptif eksploratif dan menggunakan metode analisis kualitatif. Terdapat dua alat penelitian yang terdiri dari kuesioner dan wawancara semi-terstruktur yang dilakukan secara berurutan. Hasil penelitian menunjukkan bahwa dua dari tiga pilar memi

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Nye, Joseph S. "Response to Pinar Bilgin, ‘security studies: Theory/practice’." Cambridge Review of International Affairs 12, no. 2 (1999): 43–45. http://dx.doi.org/10.1080/09557579908400240.

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Lemarchant, Clotilde. "Pinar Selek." Travail, genre et sociétés 43, no. 3 (2019): 38. http://dx.doi.org/10.3917/tgs.000.0038.

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Croguennec, Soizic. "Pilar Ponce Leiva, Francisco." Caravelle, no. 108 (June 1, 2017): 179–83. http://dx.doi.org/10.4000/caravelle.2372.

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Huda, Sokhi. "Potret Rekonstruksi Pilar-Pilar Filosofis Ilmu-Ilmu Keislaman di Indonesia." Menara Tebuireng: Jurnal Ilmu-Ilmu Keislaman 4, no. 2 (2009): 246–65. https://doi.org/10.5281/zenodo.1182662.

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The world of Islamic science expresses three big waves in its history, namely: ancient times, mid era, and modern era. In the top boring as users of modern era, it arises an idea of “knowledge Islamization” which is philosophically in problem with norms and global challenge, or between absolute doctrine and historical reality. While in Indonesia it bears the effort to reconstruct Islamic sciences symetrically with the status change of IAIN and STAIN becoming UIN in 2004. Historically, the reality has been based on the reconstructive and integrative idea of scientists in Yogyakarta

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Fitri, Maulida, Kafifah Saurita, and Gusmaneli Gusmaneli. "Membangun Kesadaran Sosial Melalui pilar-pilar pendidikan: Peran sekolah dalam masyarakat." Jurnal Ilmu Sosial, Humaniora dan Seni 3, no. 3 (2024): 864–70. https://doi.org/10.62379/jishs.v3i3.2299.

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This study explores the positive impacts of social awareness on students and its implications for community involvement. The research aims to identify the benefits of social awareness in shaping inclusive behavior, empathy, and leadership skills among students. A qualitative approach was used, combining literature review and case studies of school programs focused on social consciousness. Findings indicate that social awareness enhances students' ability to respect diversity, engage in social issues, and contribute positively to society. However, challenges such as individualism and limited in

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Candel, Daniel, Marta Giuliani Pedraza, Slavka Madarova, et al. "Analyzing the fictional worlds of Pixar with an eye on digital humanities." Semiotica 2017, no. 218 (2017): 91–117. http://dx.doi.org/10.1515/sem-2016-0081.

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AbstractThe present article tries to close the gap between the digital humanities and traditional criticism. It does so by moving between distant and close reading, constructing visualizations, opening perspectives for coding, and analyzing a large corpus: the Pixar movies up to The Good Dinosaur. This is done with the help of a tool of analysis which studies fictional worlds and is wedged between value and method. After introducing the tool (Section 2), the main Pixar characters are placed within a spatiotemporal visualization of the tool and their semantic distribution is interpreted. This i

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Fatimah, Ayu, Nisrina Tsabitah Zain, Raden Roro Sekar Ayu Nur Fadilla, and Wini Sholina. "Pembelajaran Fisika Sekolah Menengah Atas pada Materi Osilasi: Studi Literatur." Mitra Pilar: Jurnal Pendidikan, Inovasi, dan Terapan Teknologi 1, no. 2 (2022): 65–84. http://dx.doi.org/10.58797/pilar.0102.03.

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Abstract Oscillation is one of the studies of physics that are studied in high school. However, educators, especially teachers, must identify how to teach the material effectively. This research used the literature study method to analyze review studies in academic journals from 2007 to 2022. The literature results show divine physics learning at the high school level, where there are not only real learning media such as teaching aids but also virtual learning using smartphone software. The learning methods used are the inquiry learning model and diagnostic tests. Abstrak Osilasi merupakan sal

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Grau Perejoan, Maria. "Feminismes i traducció (1965-1990), Pilar Godayol." Lectora: revista de dones i textualitat, no. 28 (October 28, 2022): 403–4. http://dx.doi.org/10.1344/lectora2021.28.24.

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Gillam, Ken, and Shannon R. Wooden. "Post-Princess Models of Gender: The New Man in Disney/Pixar." Journal of Popular Film and Television 36, no. 1 (2008): 2–8. http://dx.doi.org/10.3200/jpft.36.1.2-8.

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