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Daulay, Resneri, und Helmatun Fauza Ulfah. „FEMALE REPRESENTATION IN SELECTED DISNEY RENAISSANCE STORIES“. JURNAL BASIS 9, Nr. 1 (13.04.2022): 197–208. http://dx.doi.org/10.33884/basisupb.v9i1.5489.
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The occurrence of disparities in society with female characters, Disney stories told about the existence of heroine characters in the Disney renaissance era. Disney stories had become part of a show culture that has evolved into the reproduction of gender roles. This study was conducted to find the female representation as a heroine depicted in the Disney renaissance as well as to analyze the reasons how Disney heroines struggle in claiming their equality as a woman in their society. This study was categorized into qualitative and descriptive research methods. Furthermore, this study used the theory of the renowned feminist existentialism by Simone de Beauvoir, one of the Feminist icons and Philosophers of existentialism, with her book; The Second Sex, Beauvoir represented the section of the independent woman; a woman could choose independence, which means continuing to carry out the process toward freedom without having the insight of a predetermined goal. Therefore, this study aimed to elaborate how the female representation as the women to fight their equality to their desire for freedom. Thus, the heroine character was expected to be able to contribute to society in terms of gender awareness, including women.
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Herman, David. „A Renaissance Robot“. Mechanical Engineering 120, Nr. 02 (01.02.1998): 80–82. http://dx.doi.org/10.1115/1.1998-feb-4.
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This article focuses on a computer in downtown Manhattan that is displaying a robotics designer’s latest creation in action. Fashioned to look like an armored knight, the mechanical man in this three-dimensional simulation sits up, waves its arms, moves its head on a flexible neck, and opens and closes its hands and its jaw, all in smooth, precise motions. The robot could be used in a new motion picture, museum, or amusement park. Its original designer, however, never heard of movies, computers, or Wait Disney: The robot sprang from the mind of Leonardo da Vinci. Most Renaissance-era designers took a practical approach to mechanics, viewing each machine as a universal entity to be applied as a whole. Leonardo, however, used a revolutionary method of analysis that involved dissecting machines into individual components or “organs” and establishing how many essential parts exist; pulleys, chains, pinions, shock absorbers, springs, and friction bearings were just some of the elements he discovered to be common in many different machines. Leonardo’s studies have influenced and inspired Rossheim greatly in his current robotics designs. Leonardo followed the Renaissance ideal of “man as the measure,” the standard for which the world was designed.
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Johnson, Michelle. „She's Beauty and She's Grace(less): The Mercurial Femininity of the Modern Disney Princess“. Congress on Research in Dance Conference Proceedings 2016 (2016): 229–34. http://dx.doi.org/10.1017/cor.2016.31.
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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Disney–era princesses with those from the Disney Renaissance of the 1980s and 1990s, I explore the significance of this shift in representation. Viewed as a metaphor for contemporary femininity, how do these modern princesses resolve the incongruity between their official social stations, proscribed behavior, and “real” personalities through their bodies over the course of the films?I believe that the conflict staged on these animated bodies is representative of larger societal issues emerging from contested definitions of both feminism and femininity, and that the Disney princess offers a contemporary site for the expression and resolution of this dissonance. Viewing the body of the Disney princess as representative of a larger female “social body” and conflict that occurs within her as indicative of the larger forces that shape female identity, I integrate my study with historical dance scholarship which regarded movement as indicative of the presence of an Apollonian/Dionysian dialectic working within culture.
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Leon, Carlo Yannick, und Emilia Schmidt. „Women Equity Strive in Society Depicted through Animation Film Characters“. NOTION: Journal of Linguistics, Literature, and Culture 3, Nr. 2 (23.11.2021): 112–25. http://dx.doi.org/10.12928/notion.v3i2.4818.
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The purpose of this research is to identify the female representation depicted in the Disney Renaissance and to investigate why Disney characters struggle to claim their equity as women in their society. The research methods used in this study are classified as qualitative and descriptive. The documentation method and taking notes techniques are used to collect data. The research also employs two method concepts to analyze the collected data, including a gender equity approach analysis and Simone de Beauvoir's second-wave feminism theory. The data consists of linguistic units from various Disney Renaissance stories. The writer discovered three parts in the description of female representations based on data analysis of the female representations depicted in Disney Renaissance: rebel, wise, and adventurous women; confident, intelligent, and repellent of domestication women; and masculine, loyal, and ambitious women. Furthermore, data analysis of Disney characters' struggles in claiming their equality as women in their society reveals that they outperform patriarchal expectations, reject domestication, and practice emancipation by appropriating masculine attributes and roles.
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Piri, Ali, und Mohammad Piri. „The Quintessential Features of Iranian Art in Saljuq Period“. Modern Applied Science 10, Nr. 6 (27.05.2016): 219. http://dx.doi.org/10.5539/mas.v10n6p219.
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The reign of Saljuqian in Iran is considered as a flourishing era of Islamic-Iranian culture. In the Saljuq period, Iran art has experienced and underwent some changes as long as the presence of these evolutions as keystone in Iranian traditional arts have played a significant role in arts such as architecture, painting, pottery and etc. Since the effect of the Saljuq art has been so impressive, even it is not considered as a renaissance period, it can be accounted as one of the significant period in Iranian art. The purpose of this study is to point out some features of the Saljuq art through using descriptive-analytical approach, and to examine some aspects of arts including architecture, pottery, and textile in this period. What is more, the outcomes of the present paper reveal that with regard to the Saljuq architecture, mosques have been formed by nave, dome, and four-porch courtyard derived from Khorasan architecture art. The eminent buildings of this period are Jameh Mosque of Isfahan, Jam Minareh, Sanjar monument in Marv city. Successes have been also achieved in pottery art such as making pottery dishes with over glaze, and under glaze painting and red dishes with white cover. In the field of discovered metal works, there is a variety of bowls, vases and golden, silver and bronze cups which have been carved, embossed and inlayed by picture of animals and plants as well as Kufic script. Moreover, the silk textile known as Ordaki has been one of the brilliant samples of textiles art in this period, decorated with blue Kufic script. In overall, Saljuq arts have paved the way for more development of arts in the subsequent years.
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Rybina, Polina Yu. „The Dialogue of Giants: How Broadway and Hollywood “Saved” American Animation (and Were Saved in Return). (Kunze, Peter C. Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance. New Brunswick, NJ: Rutgers University Press, 2023. 224 р.)“. Literature of the Americas, Nr. 15 (2023): 327–36. http://dx.doi.org/10.22455/2541-7894-2023-15-327-336.
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Peter Kunze’s book Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance is a (overwhelmingly) well-researched study of the transmedial migration of popular narratives in the 1980s and the 1990s. Focused on Disney’s appropriation of the Broadway integrated musical (H. Ashman, A. Menken), the study demonstrates how the musical theatre conventions improved the quality of Disney’s main product — the animated film. Kunze engages in close reading of an extended episode from the history of cultural production (the Disney Renaissance), showing the complexity and unpredictability of various media convergences. For instance, the book reconfigures the roles of managerial and creative labourers behind the Disney transformation, wittily (and convincingly) bringing to the forefront 1982 as annus mirabilis, which triggered immense changes in the cultural sector. After discussing Disney's appropriation of the musical Broadway, the book reveals how the updated animated musical comes back to the theatrical stage and transforms ‘respectable’ Broadway by alternative styles and agendas (Julie Taymor’s The Lion King). Apart from other sources, the research uses hardto- access archival materials, the author's interviews with the practitioners and their entourage.
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Skowera, Maciej. „Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)“. Wielogłos, Nr. 1 (47) (Juli 2021): 151–81. http://dx.doi.org/10.4467/2084395xwi.21.007.13582.
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[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.
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Phillips, Lisa A. W. „Mickey Goes to Haiti and Leaves: Disney's Transnational Quest for Cheap Labor in the post-Cold War Era“. International Labor and Working-Class History 101 (2022): 144–63. http://dx.doi.org/10.1017/s0147547922000072.
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After the collapse of the Soviet Union, Disney and other United States-based companies found themselves in the position to create a “new world order.” The National Labor Committee (NLC), Haitian grassroots labor organizers, a multimillion member international labor community, concerned shareholders, members of the U.S. Congress, and activists around the world pressured Disney to lead the way to a new global standard by paying a living wage and investing in local infrastructure wherever it did business. Whatever standards Disney enacted, they argued, the rest would follow. Rather than assume the “corporate mantle of responsibility,” Disney ran from the United States to Haiti, then to China, in search of cheap labor, a bigger profit margin, and the ability to do business without scrutiny. Seeing itself as just one entity in a global garment supply chain, Disney claimed responsibility only for licensing its brand to the contractors (U.S.-based) and subcontractors (in Haiti and later China) who handled the actual production of Disney merchandise.
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Kim, Soyoung, und Christian Gregory. „Indigenously Doing Disney“. INContext: Studies in Translation and Interculturalism 3, Nr. 2 (30.11.2023): 71–93. http://dx.doi.org/10.54754/incontext.v3i2.68.
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In its hundred-year history, the Walt Disney Company has created multiple projects featuring characters from various minorities and indigenous groups. The purpose of this essay is to examine the later films of Walt Disney Animation Studios, beginning in the often-dubbed “Disney Renaissance” with Pocahontas and concluding with Frozen II, and analyze the portrayal of the native groups being featured within the narrative. Beyond this, the secondary aim of this paper is to determine whether or not any significant development has been made in said depictions in the studio’s projects, both as it pertains to narrative and visual representation, as well as reception from audience members, critics, and community leaders of said ethnic groups. Beyond the analysis of the chosen films and their reception, this essay will touch upon the potential conflicts which may arise when potentially vulnerable or traditionally ignored aboriginal groups see their culture commodified by corporations such as Disney. The findings of this essay are that while Walt Disney Animation Studios still struggles with representation and commercialization of indigenous groups, the company has evidently made efforts to respond to criticism, and increase its cooperation with aboriginal populations when developing featurefilm projects. For the most recent example, while the company’s immensely successful Frozen utilizes multiple facets of Sámi culture, it does not directly feature any characters of Sámi origin. For the sequel, however, the company made efforts to work with indigenous groups to ensure a more favorable representation, resulting in largely positive reception from Sámi audiences. Whilst there are still problematic elements present, and the company’s commitment to fair, accurate representation is likely motivated more by financial incentive than anything else, some progress has undoubtedly been made.
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Elfenbein, Matthew Ari. „Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance, Peter C. Kunze (2023)“. International Journal of Disney Studies 1, Nr. 1 (01.01.2025): 146–48. https://doi.org/10.1386/ijds_00011_5.
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Review of: Staging a Comeback: Broadway, Hollywood, and the Disney Renaissance, Peter C. Kunze (2023) New Brunswick, NJ: Rutgers University Press, 223 pp., ISBN 978-1-97882-782-0, h/bk, $150.00 ISBN 978-1-97882-781-3, p/bk, $32.95 ISBN 978-1-97882-783-7, e-book, $32.95
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Jiang, Jinli, und Prakaikavin Srijinda. „Factors influencing the effectiveness of music communication in Disney animated films“. Edelweiss Applied Science and Technology 9, Nr. 1 (16.10.2024): 41–51. http://dx.doi.org/10.55214/25768484.v9i1.2376.
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This study takes Disney animated film music as the subject of music communication. It discusses the key factors that influence the communication effect of Disney animated film music on listeners in the new media era. This study uses the theoretical framework of Technology Acceptance Theory and quantitative research methods. They are combined with the Technology Acceptance Model (TAM), which provides an in-depth understanding of the influence of Disney animated film music on the cognitive effect, emotional attitude effect, and behavioral effect of listeners. The findings reveal several essential factors influencing the communication effects of Disney animated film music, including listeners' cognitive level, the music, the emotional resonance of the music, and attitudes and behaviors of music communication. These findings not only optimize the communication strategy and audience experience of Disney animated film music but also provide a theoretical basis and practical reference for communication suggestions to improve the communication effect of Disney animated film music.
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Clément, Thibaut. „Fans as the Researcher’s Unwitting Collaborators“. Journal of Festive Studies 1, Nr. 1 (13.05.2019): 52–77. http://dx.doi.org/10.33823/jfs.2019.1.1.22.
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This article examines the notion of fan labor through Disney park fans’ work of “Disney scholarship” and “Disney history,” as well as the extent to which such data might be used by academic researchers. While it provides unavoidable entry points to academic investigations of Disney theme parks and their history, this body of knowledge reveals underlying motivations specific to fandom’s social and cultural economy. A brief history of Disney park fandom will show how fan-created works of “Disney scholarship” evidence popular expertise in often disregarded areas of culture, as well as processes of fan labor that complicate the traditional amateur/professional binary. For all their claims to professionalism, fans generally regard paid labor with suspicion and trade fan-collected data by rules typical of a gift economy. As self-styled Disney historians morph into Disney custodians, they reveal underlying motivations that help make sense of the data they produce: in their struggle to preserve Walt-era attractions and protect the park from the corporation’s commercialism, fans reveal a set of prescriptive attitudes on how to engage with the parks that inform their practices as park chroniclers. This is especially evident in controversies over proposed attraction updates, as fans set out to promote a historically and aesthetically discerning appreciation of Disney products, outside the imperatives of commercial culture.
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Akhsan Fadlurrahman, Ayu Nursasi, Nahdiyah Ulul Azmi und Naerul Edwin Kiky Aprianto. „IMPLIKASI INTEGRASI DAN MERGER PADA DOMINASI PASAR META PLATFORM DAN WALT DISNEY“. JURNAL ILMIAH EKONOMI DAN MANAJEMEN 2, Nr. 12 (10.12.2024): 313–23. https://doi.org/10.61722/jiem.v2i12.3208.
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In the era of digitalization, many new companies have emerged with their own advantages. However, if they are unable to compete, they tend to survive for a short time. One way to survive is through integration and merger. This research uses a descriptive qualitative method with a literature study. The results show that Meta Platform and Walt Disney dominate the market in their respective sectors, thus falling into the oligopoly market category. Meta dominates social networks by integrating WhatsApp and Instagram, copying the Reels feature to compete with TikTok, and connecting platforms to improve efficiency and user convenience. This strategy strengthened its position with billions of monthly active users. Walt Disney expanded its influence through mergers with Pixar, Marvel, 21st Century Fox and Lucasfilm, and expanded into theme parks, consumer products and digital services such as Disney+. These moves saw Disney dominate the global box office and earn huge revenues.
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Deng, Hanyue. „Disney Business Logic Analysis“. Advances in Economics, Management and Political Sciences 100, Nr. 1 (31.07.2024): None. http://dx.doi.org/10.54254/2754-1169/100/20241013.
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This paper analyses the development of the Disney Company since its founding in 1923, discusses the evolution of its main business, the risks, and opportunities it faces, and looks forward to the future development direction of Disney. As a giant in the global entertainment industry, Disney has successfully grown from a single animation studio to a global enterprise with diversified businesses including media networks, theme parks and resorts, consumer products business, and film and television entertainment services. The article provides a detailed analysis of how Disney has maintained its business growth and market competitiveness by adapting to digital transformation and globalization challenges while continuously expanding its IP library and strengthening its industry leadership through M&A strategies. It also explores Disney's risk management strategies in the face of global economic volatility, digital transformation challenges and intellectual property protection, as well as new opportunities arising from global expansion, technological innovation, and cross-border cooperation. Through a comprehensive analysis of Disney, this paper aims to provide a case study on how innovation and strategy can achieve sustainable business development in the era of globalization and digitalization.
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Liu, Fuhan, Bingzhu Luo, Yanyuan Zhu und Yukun Wang. „Under COVID-19 the Transformation of Enterprise Strategy — A Case Study of Disney“. International Journal of Innovation, Management and Technology 13, Nr. 3 (2022): 64–70. http://dx.doi.org/10.18178/ijimt.2022.13.3.923.
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The emerge of new technology and media platforms has deeply changed the landscape of strategic business management and the global media industry. The company business strategy optimization is becoming increasingly significant in the era of the digital economy, especially amid the COVID-19 pandemic. This article will utilize SWOT analysis and financial models to develop data-driven insights and in-depth recommendations on enterprise strategy transformation based on the case study of Walt Disney. The research results show that Disney should shift from offline business lines such as parks and stores to online streaming and interactive media, which will help Disney fully take advantage of their competitive strengths of the intellectual property portfolio and distribution channels to further develop the streaming media business segment aligned with the studio department. By transforming weaknesses and threats into new growth opportunities, Walt Disney will be able to achieve further global market outreach and maximize the profitability of innovation on creative content.
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Wang, Ziyan. „Research on the Variations of Female Characters in Disney Movies Taking the Seven Dwarfs and Moana as Examples“. Communications in Humanities Research 14, Nr. 1 (20.11.2023): 264–67. http://dx.doi.org/10.54254/2753-7064/14/20230489.
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Disney is one of the most famous film companies in the world, and its Disney Princess series is also one of the most popular movies for women and children. The characteristics and personalities of the princesses influence peoples ideas. However, with the passage of time, the image of women in Disney movies has also undergone great changes. In this regard, based on Disneys first princess movie Snow White and the Seven Dwarfs and the last officially certified princess movie Moana, this paper makes a case analysis and comparison of female characters in these two movies. Through the method of literature analysis, it can be concluded that with the development of feminism, Disneys portrayal of female characters has changed from a single, weak and innocent flat image at the beginning to a diversified and independent image of the brave in the modern era.
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Liu, Peng. „"Hand-drawn +3D" Disney Animation Film Artistic Adherence and Technological Innovation“. Highlights in Art and Design 4, Nr. 3 (01.12.2023): 17–18. http://dx.doi.org/10.54097/hiaad.v4i3.05.
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Throughout the long development of Disney's animated films for more than half a century, after experiencing the brilliance of the "hand-drawn animation era" and the downturn and hesitation of the "3D animation era", Disney opened up a new era of animated films with the new "3D+ hand-drawn" technology. Its breakthrough in production technology and the inheritance of animation art make it represent the highest level of today's animated films. This paper will try to explore the technical breakthrough and artistic inheritance of Disney's animated films through the brief tracing of Disney's animation production tradition, taking Frozen and Zootopia as examples.
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Duan, Xinyan, und Junjie Rong. „Analysis of Disneys Acquisition of 21st Century Fox“. Advances in Economics, Management and Political Sciences 35, Nr. 1 (10.11.2023): 165–70. http://dx.doi.org/10.54254/2754-1169/35/20231751.
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Disney has recently made a momentous announcement regarding its acquisition of 21st Century Fox, a deal that is poised to revolutionize the entertainment industry. Valued at a staggering $71.3 billion, this acquisition will grant Disney control over Foxs film and television studios, cable networks, and international assets. With the addition of Foxs assets, Disney will emerge as an even more dominant force in the entertainment industry, boasting a vast library of content and a formidable presence in both film and television. This study will offer a comprehensive analysis of the acquisition. With fewer major players in the market, there are concerns about the impact on competition and the potential for increased prices for consumers. However, Disney has stated that the acquisition will enable it to better compete with new industry players, such as Netflix and Amazon. By merging its own content with that of Fox, it will be able to offer a more comprehensive streaming service, which is becoming increasingly vital in the era of cord-cutting. Overall, the acquisition of 21st Century Fox by Disney is a momentous development in the entertainment industry, with far-reaching implications for both companies and consumers. While there are concerns about the impact on competition, the deal is likely to bolster Disneys position in the market and enhance its ability to compete with new industry players.
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Bunch, Ryan. „Soaring into Song: Youth and Yearning in Animated Musicals of the Disney Renaissance“. American Music 39, Nr. 2 (01.07.2021): 182–95. http://dx.doi.org/10.5406/americanmusic.39.2.0182.
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Chandler, David. „Creating The Lion King: Story development, authorship and accreditation in the Disney Renaissance“. Journal of Screenwriting 9, Nr. 3 (01.09.2018): 329–45. http://dx.doi.org/10.1386/josc.9.3.329_1.
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Rudy, Rudy, Felix Immanuel Simanjuntak und Zetro Panigoro Simanjuntak. „MULTICULTURAL VALUES IN DISNEY ANIMATED FILMS“. Apollo Project: Jurnal Ilmiah Program Studi Sastra Inggris 11, Nr. 2 (05.08.2022): 97–110. http://dx.doi.org/10.34010/apollo.v11i2.6826.
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This qualitative research focuses on the discussion of multiculturalism which is essential to do because in the current digital era, people are increasingly active moving from one place to another. Consequently, more and more countries are inhabited by people from different kinds of ethnic groups, cultures, races, etc. and multicultural values are indeed necessary to be applied. As the issue of cultural diversity has been broadly discussed, it is also found in Disney animated films. This study applied the semiotic approach to analyze data in the forms of dialogs as well as scene images obtained from the observation of Disney animated films. The results of study suggested that multicultural values can refer to respect and peace which play an essential role in multicultural society. The study also revealed that the observed animated films could represent multiculturalism through the portraits of animated film characters, traditions and customs as well as philosophy from different cultures. Keywords: multicultural values, multiculturalism, Disney animated films, cultural diversity
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Zhang, Chengkai. „The rivalry between Disney and Universal studios in the midst of the pandemic“. BCP Business & Management 28 (14.10.2022): 308–13. http://dx.doi.org/10.54691/bcpbm.v28i.2270.
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Disney and Universal has been rivals for several decades, they have produced a large number of excellent films and have their own theme parks separately. In the moment of epidemic outbreak, both of them undergo challenges. This paper compared the Disney and Universal studios, and analyzed the two companies how to deal with and solve difficulties in epidemic situation, facing what difficulty brought for the two big companies. Those two company's competition did not stop, instead, they thought of another way of competition. In a rapidly changing network era, the competition between the two studios is also becoming increasingly fierce. This paper analyzes their differences in content production and theme parks, and also points out the different strategies in IP operation between them. The paper concludes that the success of Disney and Universal Studios lies in that they take the production of cultural content centering on film and television IP as their core business strategy.
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Kurnianto, Arik. „Tinjauan Singkat Perkembangan Animasi Indonesia dalam Konteks Animasi Dunia“. Humaniora 6, Nr. 2 (30.04.2015): 240. http://dx.doi.org/10.21512/humaniora.v6i2.3335.
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The purpose of this study was to assess the development of animated films in Indonesia based on historical studies to determine simultaneously mapping the history Indonesia in the context of world/global animation history. This study also examines the relationship between the histories of Indonesiananimated films with history first entry of the film in Indonesia which began the Dutch colonial era. According to Stephen Cavalier, the world history of animation was divided into five large round starts from the era before 1900 (The Origin of Animation) to the digital era (1986-2010). Based results of the study, Indonesian animation in the context of five major round of world animation, though have long been in contact with foreign-made films and animation (Disney Studio) has into Indonesia from the early 20th century (the early 1900s), the animation is produced Indonesia has only emerged in the '50s through the vision of a Soekarno, the first President. 1950 in the world of animation history entered the era of transition from gold age of traditional animation/cartoon (golden age of cartoons) are dominated by studio Disney to the era of television (television era). In a review of the history of animation, the era of the '50s travel half a century is the era of the modern world of animation history. Based on the facts the Indonesian animation has actually grown quite long, but the development of animation in Indonesia was very slow when seen in the context of the world animation history.
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Viana, Fausto. „Figurino: você acha que Disney é coisa para criança? Reveja isso já!“ dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 7, Nr. 16 (27.10.2014): 29. http://dx.doi.org/10.26563/dobras.v7i16.26.
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Era uma vez um menino norte-americano de família pobre. Sonhava ser ilustradore pensava que, se você podia sonhar, podia realizar. Direto ao ponto, deu certo.Fundou em 1923 a Walt Disney Company, tão grande e com tantas outras empresashoje, que é difícil descrever seu valor financeiro (...)
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Chen, Mengyu. „Exploring Disney's Future Development Trends over the Next Decade“. Communications in Humanities Research 27, Nr. 1 (01.03.2024): 255–59. http://dx.doi.org/10.54254/2753-7064/27/20231920.
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The Walt Disney Company has maintained its position as a powerful and enduring presence in the fascinating and dynamic world of media and entertainment for more than a century. Disney has a rich history that spans a century, and its heritage is a tribute to its extraordinary capacity to not only tolerate change but also to adapt and thrive in the face of it. The entertainment industry is currently undergoing a revolutionary transformation of significant magnitude, akin to an earthquake, as it stands at the brink of a new era. The driving force behind this monumental change is the extraordinary expansion of streaming services, which has overturned conventional wisdom and heralded a new era of content consumption. In this article, a comprehensive examination will be conducted into Disney's unique and legendary position in this rapidly evolving world. Over the next ten years, an exploration will be made into the strategies, innovations, and forward-thinking approaches that Disney is poised to employ in order to seize new opportunities and overcome intricate challenges. The secrets behind Disney's enduring success, cultural influence, and adaptability will be revealed as it ventures into uncharted territory. These factors all contribute to the company's status as a major force in the worldwide entertainment industry. Disney's enduring appeal and ability to stand the test of time make it an inspiration to others and a monument to its unwavering dedication to pushing the envelope in entertainment and narrative.
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Sharon M. Harris. „Whose Renaissance?: Women Writers in the Era of the American Renaissance“. ESQ: A Journal of the American Renaissance 49, Nr. 1-3 (2003): 59–80. http://dx.doi.org/10.1353/esq.2010.0015.
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Barker, Jason. „Disney’s Wagner Aesthetic: Music Drama in Pursuit of the Total Artwork“. Animation 19, Nr. 1 (März 2024): 43–57. http://dx.doi.org/10.1177/17468477241233252.
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Aside from Walt Disney’s reputation for renegade avant-gardism, ‘sentimental modernism’ and subliterary Americana, the German composer Richard Wagner’s pursuit of the Gesamtkunstwerk (total artwork) provides a coherent framework for interpreting the ‘music drama’ of the Disney studio’s Depression-era shorts of the 1930s and its feature films of the Golden Age (1937–1942). In citing Wagner and Adorno’s critique of him, the author argues that Disney follows Wagner in three key respects: (1) in his disavowal of the ‘work’ of art and corresponding objectification of Nature; (2) his espousal of technology and its ‘innovation’ as a means of attaining artistic perfection; and (3) his striving for a synaesthesia, or aesthetic unity of the senses, which would ultimately prove unsustainable given the commercial constraints of capitalist modernity.
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Weinberg, Alvin M., Irving Spiewak, Doan L. Phung und Robert S. Livingston. „The second nuclear ERA: A nuclear renaissance“. Energy 10, Nr. 5 (Mai 1985): 661–80. http://dx.doi.org/10.1016/0360-5442(85)90098-2.
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Zhai, Ruobing. „Astrology and Astronomy in Renaissance Works“. Journal of Education, Humanities and Social Sciences 11 (20.04.2023): 220–25. http://dx.doi.org/10.54097/ehss.v11i.7629.
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The Renaissance period was characterized by several events and factors that made a central part in the transformational era. The scientific study of stars has significantly changed over the years and it has been a critical part of the evolution and transformation in the history of Europe. One of the things that flourished greatly during the Renaissance was the science of astronomy which involved the study of the stars and other astronomical bodies in space. This study was part of the period because of the role it played in the predictions and making future projections on the cultural, political and economic events and the situation in the transitional era. This paper focuses mainly on explaining the relationship between astrology and astronomy and how they all connect with the Renaissance period. The focus is also widened to capture the greater issues of the artifacts of the Renaissance era and how they have embraced astrology and the study of the planets and stars at large.
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Wang, Lei, Bing Han und Guofei Xu. „Cultural Differences in Mulan between Chinese Version and Disney Version“. Theory and Practice in Language Studies 10, Nr. 10 (01.10.2020): 1332. http://dx.doi.org/10.17507/tpls.1010.22.
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This article puts Chinese Mulan and Disney Mulan's plots as the starting point, analyzes of the adaptation of the plots to show the different cultural significance given by different nationalities. The purpose of this paper is to research the cultural differences reflected in the films made by Hua Mulan in different countries. In this era of globalization, and in the face of different cultures, only by taking its essence and its dross will produce masterpieces that attract worldwide attention. There are indeed many cultural differences between the Chinese film Mulan and the American film Mulan. After analyzing the reasons for the differences, this study summarizes the enlightenment of these differences to cross-cultural research and shows some views.
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Neuman, Robert. „Disney’s Final Package Film: The Making and Marketing of The Adventures of Ichabod and Mr. Toad (1949)“. Animation 14, Nr. 2 (Juli 2019): 149–63. http://dx.doi.org/10.1177/1746847719858678.
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As the last of Disney’s package films in the troubled decade of the 1940s, The Adventures of Ichabod and Mr. Toad (1949) has acquired the reputation of an awkward ‘marriage of convenience’ of two separate stories based on well-known literary properties, one American and one British: Washington Irving’s The Legend of Sleepy Hollow and Kenneth Grahame’s The Wind in the Willows. This article, by reconstructing the gestation of the film over eight years, demonstrates the degree to which the stark contrast between the two halves was not only inevitable but deliberate. This is especially visible in the handling of the narrative – action set pieces for Toad and a full-fledged musical for Ichabod – as well as the art direction, which favors realism for Toad and stylization for Ichabod. An analysis of the marketing campaign shows that the film was presented as a facsimile of the standard double bill of the period, with an A picture and a B picture. In lauding its new cast of sympathetic Disney characters and stories that stimulate a full range of emotional responses, some film critics in Britain and the US compared Ichabod and Mr. Toad favorably to Snow White and the Seven Dwarfs, Dumbo and the Silly Symphonies, calling the film a harbinger of a Disney renaissance – a revival that would be fully realized with the premiere of Cinderella in 1950.
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Avakyan-Forer, Armina Genrikhovna. „Economic Ideas of the Renaissance era: philosophical analysis“. Философия и культура, Nr. 2 (Februar 2021): 42–52. http://dx.doi.org/10.7256/2454-0757.2021.2.35278.
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This article examines the economic views of the Renaissance philosophers. The socio-philosophical thought of this period raises the value and moral-ethical problems in economic sphere, as well as attempts to solve them. The subject of this research is the attitude towards the economic wealth of an individual and society. The goal is to reveal and structurize the economic ideas of the Renaissance philosophers. The relevance of this work lies in the overview of the philosophical concepts that reflect the economic ideas and value peculiarities of that time. Special attention is given to the development of foreign trade, which was accelerated by the Age of Discovery. The Renaissance era is complex phenomenon of human culture, where opens a new perspective upon articulation and solution of the old problems. For example, in discussing wealth and poverty, the philosophers raised the problem of social inequality, claiming the many people are poor not because they do not want to work, but because they were born to be poor. In this era, the bourgeois class, feudal lords and the highest royal nobility owned almost all lands, making it extremely difficult for ordinary people to become wealthy. This marked the “revolution” within the system of values, as well as in sociopolitical and economic spheres. Among the factors affecting the evolution of economic thought, the author indicates the problems of the development of economic activity and change in the subject area of economic tasks, both of which required a theoretical reflection. The author explores the solution of these tasks by different philosophers, as well as follows the evolution of the internal logic of economic views.
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Bernstein, Eckhard. „What Happened to the Renaissance in the German Academy? A Report on German “Renaissance” Institutes“. Renaissance Quarterly 52, Nr. 4 (1999): 1118–31. http://dx.doi.org/10.2307/2901838.
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Where is the research on the Renaissance being done in Germany? Is it true that “European history is still firmly divided among antiquity, the Middle Ages, and the modern era,” and that therefore “the Renaissance occupies no space of its own in the history curriculum [of German universities]” as Professor Karant-Nunn has argued? The problem, it seems, is that German historians have largely abandoned the term “Renaissance” to denote the period between the Middle Ages and the modern era, using instead the term “early modern period” (Friihe Neuzeit), a term whose perimeters are variously defined as extending from the close of the Middle Ages to the end of the seventeenth century, or to the French Revolution, or even to the end of the old Reich in 1806.
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Li, Minshan. „Analysis Of Social Media Promotion and Marketing Strategies for Disney Movies: A Case Study on Zootopia & Frozen 2“. Highlights in Business, Economics and Management 41 (15.10.2024): 171–78. http://dx.doi.org/10.54097/4ngbjg57.
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This study aims to deeply analyze the successful strategies of Disney movies in social media marketing, taking “Zootopia” and “Frozen 2” as case studies. With the expansion of the global movie market and the diversification of audience demand, animated movies are highly competitive, and Disney occupies a leading position with its strong strength and perfect network. The study first introduces the background of The Walt Disney Company, explaining the study's purpose and significance and the framework. Then it analyzes the global influence and marketing strategy of “Zootopia” respectively, including its background, the current fire situation, social media promotion techniques innovative parts, and offline promotion strategy. Then the background, audience reaction, social media promotion methods, and effects of Frozen 2 are discussed. It then compares the differences and changes in the marketing strategies of the two films, including social media strategies, offline promotion focus, cross-border cooperation methods, etc. It also discusses the evolution of marketing strategies, such as digital transformation, emphasizing user-generated content, exploring the application of new technologies, etc., as well as cross-cultural communication strategies. Finally, suggestions and expectations for movie marketing in the digital era are given, including strengthening innovation, building a social interaction ecology, pursuing content quality, and deepening cross-cultural communication strategies. The study summarizes the results, points out the limitations, and offers an outlook on future research directions, providing valuable experience and inspiration for the film industry.
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Pratiwi, Winda Nur, und Fitria Akhmerti Primasita. „Female Action Hero’s Superpower Representation: Audience Reception on Twitter in Disney’s Mulan (2020)“. Rubikon : Journal of Transnational American Studies 9, Nr. 2 (01.11.2022): 180. http://dx.doi.org/10.22146/rubikon.v9i2.76886.
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The live-action adaptation of the Movie Mulan produced by Walt Disney in 2020 sparked heated discussion from the audience after Disney tries to represent a strong female action hero by giving Mulan, the female protagonist, a superpower attribute called ‘chi’. In the era of new media, audience expressed their opinion through Twitter. Thus, the tweet responses and reviews on several websites were consecutively taken as primary and secondary data as it is an audience analysis research, applying feminist theory to examine the audience responses to the representation of female action heroes with a superpower. The research found that the majority of the audience, approximately 80%, falls into the opposition audience. They do not like the representation of Mulan with a superpower. On the other hand, less than 20% of audience fall into the dominant and negotiate audience. The high percentage of the oppositional audience indicates that the audience of the live-action Mulan would rather choose the representation of Mulan who came from a humble background instead of someone who was born great.
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Sadullaev, Denis Bakhtiyorovich. „Renaissance And Renaissance Philosophical Texts Through The Prism Of Historical Approach“. American Journal of Social Science and Education Innovations 03, Nr. 05 (31.05.2021): 364–71. http://dx.doi.org/10.37547/tajssei/volume03issue05-67.
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The article is devoted to some aspects of the functional specificity of lexical borrowings - neologisms - that have found their vivid reflection in the works and philosophical thought of the European era and, in particular, the English Renaissance, represented by its brightest representatives such as Thomas More, Francis Bacon, John Donne, Shakespeare and others. The authors consider this problem in a synchronous-diachronous cut and in the light of the new socio-political situations of the century of the English Renaissance and in the light of the evolutionary process of the formation of the English nation and the norms of the literary English language, which continued intensively in the 11th century, which led to the further growth and spread of both oral, and written national literary language.
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Antoine, Jean-Christophe. „Ramsès XI, le premier prophète d’Amon et l’ascension de Piankh à Thèbes pendant l’Aire de la Renaissance“. Journal of Egyptian History 12, Nr. 1 (29.04.2019): 1–35. http://dx.doi.org/10.1163/18741665-12340050.
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Abstract An analysis of P. Geneva D191, P. BM EA 75019+10302, P. Penn 49.11, and P. Turin 2097+2105 leads to a new interpretation on the political events at Thebes during the Renaissance Era. Ramesses XI played a major role in the restoration of order with the help of Libyan troops. He decreed the Renaissance Era with the will of restoring control in the South. Nesamun, at the death of his brother Amenhotep, was compelled to return to his former position of second prophet of Amun while that of first prophet was left vacant for at least two years. After year 4 or 5 of the Renaissance Era, Piankh, who arrived at Thebes with the king, progressively installed a system of power which will prevail throughout the 21st Dynasty. In this new structure a military family of probable Libyan background occupied all the Theban secular and religious functions while maintaining a fictitious allegiance to the northern king.
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Fatmawati, Desy Eka. „Racial Passing Practiced by Mulattoes: A New Historicist Reading of Nella Larsen’s Passing and Jessie Fauset’s Plum Bun”“. Rubikon : Journal of Transnational American Studies 4, Nr. 2 (19.07.2019): 95. http://dx.doi.org/10.22146/rubikon.v4i2.47881.
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Racial passing practice is the act of passing or disguising as white by mulattoes, and it became a phenomenon during Harlem Renaissance. Harlem Renaissance is an era when African American culture related to arts, literature, and music were greatly celebrated. This era can also be said as the most glamorous and happiest moment for African Americans since the antebellum era. Using two of the prominent racial passing narratives during Harlem Renaissance: Passing by Nella Larsen and Plum Bun by Jessie Fauset, this research aims to find the depiction of racial passing practice in the two narratives in order to get deeper understanding of the issue. This research is under American Studies paradigm of Post-nationalist to take into account the minorities’ perspective in understanding America. The minorities’ perspective in this context is from African American’s mixed raced descents (mulattoes). As the focus of this research is historical phenomenon, this research also applies New Historicism as an approach. Based on the analysis, racial passing practice was a reaction from white’s domination through Jim Crow laws, and African Americans considered racial passing practice as a form of both “fooling the white folks” and a betrayal to their “true people”. Keywords: Racial Passing, Mulattoes, Harlem Renaissance, Jim Crow, New Historicism
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Sholihah, Husna Amalina, und Khairunnisa Etika Sari. „Kontribusi Perpustakaan Islam terhadap Era Renaisans di Eropa: Perspektif Historis“. Warisan: Journal of History and Cultural Heritage 4, Nr. 2 (12.11.2023): 48–55. http://dx.doi.org/10.34007/warisan.v4i2.1921.
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This article explores the vital role of Islamic libraries in transmitting scientific knowledge during the European Renaissance, contributing to Europe's modern-era advancement. Utilizing a qualitative approach with a historical literature review, the study analyzes data from various historical documents through heuristics, criticism, verification, interpretation, and historiography. It identifies three main channels for knowledge transfer from the East to the West: Andalusia, Sicily, and the Crusades. Andalusia, in particular, became a hub of scholarship and civilization, resulting in the translation and dissemination of diverse books, ultimately leading to the establishment of European universities. A parallel transformation occurred in Sicily, where an Islamic system persisted under Christian rule. The introduction of paper and the printing press facilitated the widespread dissemination of knowledge. Averroism, influenced by these developments, played a pivotal role in catalyzing the Renaissance, shaping Europe's trajectory towards exploration and global leadership in modern civilization. Islamic libraries' contributions in transmitting scientific knowledge significantly influenced the Renaissance, laying the foundation for Europe's subsequent achievements and leadership in the modern world.
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김선경 und 이정민. „Spatial characteristics of Palazzo architecture during the Renaissance era“. Journal of Korea Intitute of Spatial Design 9, Nr. 4 (Dezember 2014): 189–98. http://dx.doi.org/10.35216/kisd.2014.9.4.189.
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Reilly, John M. „THE HARLEM RENAISSANCE: A HISTORICAL DICTIONARY FOR THE ERA“. Resources for American Literary Study 15, Nr. 1 (1985): 96–100. http://dx.doi.org/10.2307/26366399.
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Tolson, Melvin B., und Bruce Kellner. „The Harlem Renaissance: A Historical Dictionary for the Era“. Journal of American History 76, Nr. 4 (März 1990): 1357. http://dx.doi.org/10.2307/2936742.
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Hamalian, Linda, und Bruce Kellner. „The Harlem Renaissance: A Historical Dictionary for the Era.“ Black American Literature Forum 19, Nr. 2 (1985): 90. http://dx.doi.org/10.2307/2904012.
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Reilly, John M. „THE HARLEM RENAISSANCE: A HISTORICAL DICTIONARY FOR THE ERA“. Resources for American Literary Study 15, Nr. 1 (1985): 96–100. http://dx.doi.org/10.2307/resoamerlitestud.15.1.0096.
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Gonzalez-Ruiz, A., und R. P. Bendall. „Diagnosis of invasive amoebiasis: renaissance of the morphology era.“ Gut 36, Nr. 5 (01.05.1995): 800. http://dx.doi.org/10.1136/gut.36.5.800.
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Fenwick, James. „The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era“. Historical Journal of Film, Radio and Television 39, Nr. 3 (15.04.2019): 622–24. http://dx.doi.org/10.1080/01439685.2019.1603907.
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Tian, Yuhong, und Yan Yang. „A Study of Female Images in Tangled“. Communications in Humanities Research 34, Nr. 1 (21.05.2024): 30–35. http://dx.doi.org/10.54254/2753-7064/34/20240105.
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Disneys classic animated film Tangled is based on an American fairy tale, telling the story of Rapunzel, a fragile girl imprisoned by a witch, who transforms into a brave new-era woman pursuing her own happiness. The protagonist, Rapunzel, relies on her own effort and wisdom, daring to break with conventions and free herself from bondage. The witch, Mother Gothel, is the villainous character in the film, who imprisons Rapunzel in a tower and exploits her magical powers for her own benefit. From the perspective of feminism, this thesis makes a detailed analysis of the female images in Tangled, interprets feminism while analyzing the images, and explores the significance of Disney Princess animated films in spreading feminism. Tangled reflects the oppression of women and the awakening of womens self-consciousness. Analyzing film and television works in the new era with the help of feminist theories can also help us further analyze womens thoughts in the new era through the shaping of female roles.
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Zhou, Ye. „Research Based on the Stock Trend of Disney over the Pandemic“. Advances in Economics, Management and Political Sciences 20, Nr. 1 (13.09.2023): 367–70. http://dx.doi.org/10.54254/2754-1169/20/20230222.
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The COVID-19 pandemic has caused significant damage to theme parks. During the era of the pandemic, millions of companies from different industries were facing huge economic problems, which included the excessive indebtedness that leads to failure to pay back within the regulated time limit, the thing go under, and facing bankruptcy. Theme parks industry was one of those who fell into predicament. The sudden decrease of visitors and compulsory safety precautions caused the short-term disclosure of the parks and resorts. What was taught by the Covid-19 pandemic was that theme parks should always keep themselves attractive and innovative. This article aims to research the pandemic's impact on Disney and its reaction to encountering the park disclosure. By analyzing data and information directly from their website and statements using ways of accounting, it is expected to figure out whether the reactions were supportive, and how their responses helped minimize the adverse effects brought by Covid-19.
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Demchenko, Aleksandr Ivanovich. „Baroque (the mid-16th to mid-18th centuries): Collisions of contrasts. Essay 1“. Pan-Art 4, Nr. 4 (27.09.2024): 259–72. http://dx.doi.org/10.30853/pa20240038.
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The essay examines the art and culture of the Baroque era, which followed the Renaissance. This era spans the 17th century and parts of the 16th and 18th centuries. Its emergence was marked by a crisis in Renaissance humanism, a disillusionment with the ideals of the era, particularly the idea of a perfect human being, their harmonious existence, and their dominion over the world. First of all, the author focuses on the spiritualism inherent in the Baroque, which arose in opposition to the individualism of the Renaissance: the spirit is elevated above matter, which is reflected in the desire for repentance, the rejection of bodily pleasures, and a turning towards God. This part of the essay pays particular attention to key contrasts, antitheses characteristic of the era. For example, spiritualism was contrasted with the "bodily", earthly, sensual element, both of which could be represented in the works of the same artist. Another key antithesis of the era is the juxtaposition of refined-aristocratic and folkloric, lowly elements. One of the strongest contrasts characteristic of the Baroque period is the antithesis of tragedy and zest for life. Furthermore, the author addresses the styles of Rococo and Baroque. Particular attention is paid to Russian art of the period under study. The exploration of this topic will be continued in the next part of the essay.
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Nova, Firsan, und Putri Elma Fitria. „AN INFLUENCE OF USER EXPERIENCE AND BRAND EXPERIENCE ON THE CUSTOMER SATISFACTION AT DISNEY+ HOTSTAR DIGITAL STREAMING SERVICES“. Jurnal Apresiasi Ekonomi 11, Nr. 2 (26.07.2023): 454–63. http://dx.doi.org/10.31846/jae.v11i2.638.
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NNowadays, we have entered the era of digitalization 4.0 which makes the internet play a very important role in supporting and facilitating humans in their daily activities through a variety of existing technologies. The problems identified were several poor ratings accompanied by complaints submitted by Dinsey+ Hotstar customers regarding the use of the application and there was a lot of competition among Video On Demand (VOD) which caused an unstable subscription rate in Q4 2020 until Q1 2022. This study objectives to examine the influence of User Experience and Brand Experience on Customer Satisfaction at Disney+ Hotstar digital streaming services in Bekasi City. This study applied a causal research type by a quantitative approach. The final sample was 100 which were rounded off from the results of the calculation of Slovin's formula i.e., 98.01, and also with conditions met, i.e., at least three times in 1 month final. The data analysis technique uses a multivariate approach with a regression technique. The results of empirical research after the alternate hypothesis test was carried out on User Experience and Brand Experience to Customer Satisfaction resulted in research findings that stated a significant influence on Disney+ Hotstar Customers as partially and simultaneously.