Relevant bibliographies by topics / Walt Disney Animation Studios (Firm)

Academic literature on the topic 'Walt Disney Animation Studios (Firm)'

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Published: 25 July 2024
Last updated: 31 July 2024

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

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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 that nostalgia dictates a preference for a more traditional look. It will also argue that this process pioneered by Pixar has in turn influenced the most recent short films of Walt Disney Animation Studios.
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Kornatsky, Nikolay N. "Disney studio in 1975: Fyodor Khitruk reports." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 146–66. http://dx.doi.org/10.35852/2588-0144-2023-1-146-166.

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For the first time, the article introduces Fyodor Khitruk’s report about his business trip to the USA in the autumn of 1975. In this document from RGALI, a well-known Soviet director tells in detail about his work on the jury of the 3rd New York Animation Festival (among the winners of the festival was Yuri Norstein’s animated film, The Heron and the Crane), as well as visiting the studios — Walt Disney Productions and Hanna-Barbera. A significant part of the document is devoted to the analysis of a production organization — this issue was of particular interest to Soviet animators, who at that time were actively looking for ways to reform his largest studio. By the 1970s, at Soyuzmultfilm they often worked in a group method — a small film crew works independently with minimal involvement of production departments. A group method helped to achieve a high artistic result, but disrupted the rhythm of production. Based on the American experience, Khitruk formulates proposals on how to correct the shortcomings. In particular, the film crew of “The Rescuers” (Walt Disney Productions) shows what successes an improved group method could achieve. Hanna-Barbera is an example of a production company that runs like clockwork.
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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 (August 6, 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, 4 data of Ego, and 1 data of Superego, 2) The Id aspect dominates Mei Lee in living her life to take every action and decide something.Tujuan penelitian ini adalah untuk mendeskripsikan karakter utama dalam film animasi “Turning Red” yang dirilis oleh Pixar Animation Studios dan Walt Disney Pictures pada tahun 2022. Penelitian ini merupakan penelitian kualitatif deskriptif. Adapun data dalam penelitian ini berupa dialog pada tokoh utama berdasarkan pendekatan psikologi sastra. Pengumpulan data dilakukan dengan teknik dokumentasi. Triangulasi sumber, teknik, dan teori sangat penting untuk memastikan validitas penelitian ini. Hasil penelitian menunjukkan: 1) Mei Lee menunjukkan ketiga struktur kepribadian, dengan Id sebanyak 7 data, Ego sebanyak 4 data, dan Superego sebanyak 1 data, 2) Aspek Id mendominasi Mei Lee dalam menjalani kehidupannya untuk melakukan setiap tindakan dan memutuskan sesuatu.
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Rosyid, Dzulfiqar Fickri, and Kankan Kasmana. "A Comparison of the 1940 Animated Pinocchio Movie and Walt Disney Studios' 2022 Live-action Version of Pinocchio Movie." ARTic 6, no. 1 (December 27, 2023): 581–89. http://dx.doi.org/10.34010/artic.v6i1.10953.

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Pinocchio is one of the popular classics of the Walt Disney animation industry released in 1940, the popularity of the Pinocchio series also prompted the animated film Pinocchio to be adapted into a live-action version in 2022. The movie is based on the classic novel by Carlo Collodi that tells the story of a wooden puppet named Pinocchio who wants to become a human child. There are different scenes from the 1940 version of Pinocchio and the 2022 version of Pinocchio. This adaptation process does bring changes in the meaning content when the story is adapted from animation to live-action. Based on this, this study aims to analyze changes in meaning in the 1940 animated version of Pinocchio and the 2022 live-action version of Pinocchio with a comparative method, data obtained from observation. The results of the study are that there are significant differences, in the 1940 animated version of Pinocchio scenes prioritize Pinocchio's self-transformation into a real boy through moral struggle and sacrifice, while the 2022 live-action version of Pinocchio adaptation emphasizes the emotional relationship between Pinocchio and Gepetto. The results of this research are expected to provide additional knowledge and new knowledge about film adaptation and the importance of considering changes that occur in both films and their impact on the content of meaning. Keywords: Animation, Live-action, Movie, Pinocchio Scene
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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 (February 22, 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 penulis teliti; 3) Menjelaskan secara deskriptif hasil dari pengambilan scene baik dialog ataupun tindakan yang menggambarkan makna persahabatan; 4) Memasukkan potongan scene-scene yang sesuai dengan objek yang akan diteliti yaitu makna persahabatan ke dalam analisis semiotika Ferdinand de Saussure yang berupa penanda (signifier) dan petanda (signified). Berdasarkan hasil analisis yang didapat dari film Luca, terdapat makna persahabatan baik dari tindakan ataupun dialog antar tokoh dalam film animasi Luca.
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Fonneland, Trude. "Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency." Religions 11, no. 9 (August 21, 2020): 430. http://dx.doi.org/10.3390/rel11090430.

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This paper explores the religion-making potential of a particular secular institution, namely the Walt Disney Studios. Focusing on the animation film Frozen II that was launched in November 2019, the current article enters into debates about the manner in which indigenous religion is part of the commodity presented—how religion is produced, packaged, and staged. In the article I argue that contemporary media-scapes can be seen as agents of religion-making, of religious circulation, and renewal. As such, religion, as it is expressed in Frozen II, is outlined and produced by a particular media-form and shaped as a popular cultural formation. Further discussions about cultural appropriation are highlighted, focusing on how Disney’s reach out for cooperation with the Sámi community can generate new cultural policies and practices.
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Teodoro da Silva Junior, Mário Sérgio. "Formas da expressão animatorial: o sentido dos movimentos na animação Disney / Forms of animatorial expression: the meaning of motion in Disney animation." Texto Livre: Linguagem e Tecnologia 10, no. 2 (December 28, 2017): 220–39. http://dx.doi.org/10.17851/1983-3652.10.2.220-239.

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RESUMO: O presente artigo tem por objetivo explorar, dentro da perspectiva da semiótica discursiva, alguns conceitos de desenho animado, utilizados há longa data na produção de filmes de animação dos estúdios da Walt Disney, explicitados em Frank Thomas e Ollie Johnston (1981). Queremos compreender em que medida a composição das imagens em movimento – que é, em essência, a própria forma do movimento – produz sentido, configurando-se como signo, com significante e significado próprios. À luz do percurso gerativo de sentido, focando-se na dimensão semio-narrativa (GREIMAS; COURTÉS, 2013) e na semiótica tensiva (ZILBERBERG, 2006a, 2006b), com a conceitualização de valências e missividade, podemos notar como cada sequência do movimento animatorial organiza-se em um sintagma animatorial próprio. Por meio dessa ordenação sintática, que possui um fundo tensivo, formula-se um programa narrativo e revelam-se nitidamente seus valores, actantes e fazeres. Afirma-se, então, como a forma da expressão dos movimentos não é mero suporte a um plano de conteúdo, desfazendo-se com a eficácia da comunicação, mas sim o centro de que se origina e que norteia o sentido do conteúdo, com níveis de profundidade tanto no plano do conteúdo (níveis tensivo, missivo e narrativo) como no plano da expressão (níveis rítmico e motor).PALAVRAS-CHAVE: animação; tensividade; narratividade.ABSTRACT:In this article, we propose to explore some cartoon’s concepts used by the Walt Disney Animation Studios for a long time, which we find in Frank Thomas and Ollie Johnston’s The Illusion of Life: Disney Animation (1981). By the perspective of Discoursive Semiotics, we can comprehend how the motion pictures’ composition, the form of motion, has its meaning, becoming a sign itself, with a signifier and a signified. Using traditional Greimasian Semiotics’ generative course (GREIMAS; COURTÉS, 2013), focusing on the semio-narrative level, and Zilberberg’s Tensive Semiotics and its valencies and missivity (ZILBERBERG, 2006a 2006b), we note that every motion sequence in a film organizes itself in a syntagm. Within this syntactic order with tensive base, narrative programs appear along with its values, actants and doings. Hence, we see how expression forms are not only support to content forms which disappear after effective communication, but that expression forms are, in this animatorial articulation, the originating center of meaning, with its own generative levels in the expression plane (rhythm and motor levels) and content plane (tensive, missive and narrative levels). It also opens a door to formulate a grammar for expression forms in SemioticsKEYWORDS: animation; tensivity; narrativity.
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Iwan Muhammad Ridwan, Iwan. "ANALISIS SINEMATIK DAN NARASI VISUAL FILM ANIMASI “RAYA AND THE LAST DRAGON”." JURNAL Dasarrupa: Desain dan Seni Rupa 5, no. 2 (February 21, 2024): 31–37. http://dx.doi.org/10.52005/dasarrupa.v5i2.150.

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Raya and the Last Dragon is an animated film produced by Walt Disney Animation Studios with the storyline of Raya's adventures as the main character in an imaginary country called Kumandra. This animated film has a cultural style and local identity that is identical to Southeast Asian culture, including Indonesian culture. It is these cultural identities and symbols that encourage this research. Through a descriptive analysis method, the meaning of symbols or cultural identities contained in the visual and cinematic narratives of the animated film Raya and the Last Dragon will be explained based on studies using Roland Barthes' semiotic theory. The results obtained from the analysis using two stages of significance, namely the first level of denotational meaning and the second level of connotative meaning, are the messages contained in several excerpts in each scene of the animated film which show the meaning of Southeast Asian cultural symbols, as well as what is visible from the behavior of each character, as well as the visual and cinematic narrative that greatly influences the animated film.
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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 its complexities are explored within this study to identify dominant patriarchal ideologies that are marginalizing and discriminatory towards women. The trajectory of Merida which is representative of the struggles of women within the patriarchal social structure is analysed while focusing on the mother-daughter relationship. This research aims to present the oppressiveness of socially constructed gender identities through the challenges faced by Merida in her fight for freedom and self-expression. The feminist elements of the film are discussed based on the dichotomy of the ‘angel’ and the ‘monster’ highlighted by the theorists Gilbert and Gubar in Mad Woman in the Attic (1979). Furthermore, the theories of bell hooks, Simone de Beauvoir, Judith Butler and Luce Irigaray are used to support the central argument.
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Purwanto, Atmi Maharani, and Muhammad Hafiz Kurniawan. "NAMAARI POWER IN RAYA AND THE LAST DRAGON MOVIE: MULTIMODAL DISCOURSE ANALYSIS." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 8, no. 1 (June 29, 2024): 211–21. http://dx.doi.org/10.30743/ll.v8i1.9159.

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Raya and the Last Dragon is a popular animated film from Walt Disney Animation Studios, featuring an antagonist named Namaari. This study aims to examine the interactive meaning of a particular scene and determine the representation of power by Namaari as the female antagonist character during the orientation stage, specifically from minute 0:11:54 to 0:16:37. To identify the representation of Namaari in the movie, a combination of verbal and non-verbal modes is analyzed. This research employs a descriptive qualitative method, utilizing Kress and van Leeuwen’s visual grammar theory to investigate movement, Baldry and Thibault’s approach to analyze the macrophase, and Halliday’s textual metafunction to examine the verbal mode. Additionally, Sutherland's power model, incorporating Allen’s conception of power, is used for a deeper analysis of female power. The study reveals that Namaari embodies different types of power as a female antagonist, such as power-over, power-to, and power-with, based on the frameworks of Sutherland and Feltey. Besides adapting masculine traits, Namaari demonstrates her power through verbal clauses, detachment, and equality angles. These features portray Namaari as an equal to Raya, both verbally and visually. Namaari tends to convey information through declarative clauses, adopting a friendly demeanor (using positive face strategies) to deceive Raya and gain access to the Dragon Gem.
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Dissertations / Theses on the topic "Walt Disney Animation Studios (Firm)"

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Montoya, Rubio Alba. "Les pel·lícules musicals d’animació dels estudis Walt Disney: anàlisi de l’aparició i evolució dels elements recurrents a les cançons (1937-2010)." Doctoral thesis, Universitat de Barcelona, 2017. http://hdl.handle.net/10803/481959.

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Aquesta tesi estudia la música a les pel·lícules de Disney, concretament la configuració de les seves cançons, si hi ha uns patrons formals en la seva creació i disposició en un llargmetratge animat. A partir d’aquesta anàlisi, es pretén esbrinar si existeix el que sovint es denomina “la fórmula” Disney, segons la qual en aquestes pel·lícules sempre hi ha d’haver un determinat tipus de cançó amb uns trets molt definits. Per resoldre aquesta qüestió s’han analitzat un total de 34 pel·lícules, fent un especial èmfasi en els moments musicals i tots els elements que hi interactuen: la lletra, la imatge i la música. D'aquesta anàlisi i de la comparació d'aquestes pel·lícules ha estat possible deduir com han estat dissenyades, si existeixen uns patrons formals en la configuració dels números musicals i si tot això dona lloc a un estil únic i diferenciable a nivell artístic, a més de permetre revisar la definició del musical com a gènere cinematogràfic.
La presente tesis estudia la música en las películas de Disney, concretamente la configuración de sus canciones, si hay unos patrones formales en su creación y disposición en un largometraje animado. A partir de este análisis, se pretende averiguar si existe lo que a menudo de llama “la fórmula” Disney, según la cual en dichas películas siempre debe haber un determinado tipo de canción con unas características muy definidas. Para resolver esta cuestión se han analizado un total de 34 películas, haciendo un especial énfasis en los momentos musicales y todos los elementos que interactúan: la letra, la imagen y la música. De este análisis y de la comparación de las películas ha sido posible deducir cómo han sido diseñadas, si existen unos patrones formales en la configuración de los números musicales y si esto da lugar a un estilo único y diferenciable a nivel artístico, además de permitir revisar la definición del musical como género cinematográfico.
Abstract: The aim of this thesis is to analyze Disney movies from a scientific perspective and appraise its contribution in the audiovisual language field. It is also the goal of this dissertation to propose a new analysis methodology that includes three disciplines: music, literature and visual arts. From the analysis and comparison of these films it will be possible to gather how they have been created, if there is a formula in the setting of musical numbers and if all this results in a artistic style unique and distinguishable. Lastly, all this may allow reformulating the definition of musical as a cinematographic genre.
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Lydebrant, Martin. "När sagan byter medium –En komparativ adaptionsstudie av H.C. Andersens Den lilla flickan med svavelstickorna och Walt Disney Animation Studios The Little Matchgirl." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-85744.

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Uppsatsen analyserar och komparerar H.C. Andersens verk Den lilla flickan med svavelstickorna och dess animerade adaption av Walt Disney Animation Studios The Little Matchgirl. Syftet med analysen är att undersöka hur tematik från Den lilla flickan med svavelstickorna förmedlas i en animerad adaption och utifrån vilka medel. Uppsatsen utgår från Linda Hutcheons adaptionsteori samt semiotik baserat på Gunter Kress och Theo Van Leeuwens visuella grammatik. Analysen visar på att adaptionens tematik överlag överensstämmer med originalets och de förändringar som gjorts har varit för sentimentala skäl eller på grund av de begränsningar eller möjligheter som det visuella mediet har som framställningsform. Analysen visar på att adaptionen använder både ljus- och färgmodalitetstecken för att effektivt kunna representera Andersens originella sentimentalitet i en ny medial framställning.
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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.

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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.

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Ribera, Robert. "Between patriotism and pacifism: Jacob Lawrence, John Huston, Bill Mauldin, and Walt Disney during World War Two." Thesis, 2016. https://hdl.handle.net/2144/20712.

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During World War II, four artists—filmmakers Walt Disney and John Huston, painter Jacob Lawrence, and cartoonist Bill Mauldin—were among the soldiers fighting on the front lines, and the officers and staff who supported them at home and abroad. I argue that the art they created during the war and in their themes, overt and covert resonates beyond the rhetoric of patriotism. Their work reveals the tension between an artist’s desire to support the soldiers and the cause, while questioning the purpose of the war and its destructiveness. The works discussed in this dissertation all operate on these two levels. Created within the historical context of patriotism and anti-fascism, they present a product aimed at support, designed to inform and persuade the American public about the threat of fascism, the realities of war, the strength and reserve of the soldiers fighting it, and the ultimate righteousness of the task ahead. At the same time, these works also reveal a skepticism about the war. Chapter 1 examines Jacob Lawrence’s paintings from his time in the Coast Guard, as well as his War and Hiroshima series. I explore the ways Lawrence’s experience shaped the form and the content of his war paintings. Chapter 2 looks at the wartime documentaries of John Huston: Report from the Aleutians (1943), San Pietro (1945), and Let There Be Light (1946) as well as Huston’s adaptation of The Red Badge of Courage (1951). This chapter shows Huston’s increasingly ambivalent attitude and skepticism about the war. Chapter 3 analyzes Bill Mauldin’s cartoons for Stars and Stripes, as well as his political cartoons printed after the war and his 1956 congressional campaign. I relate Mauldin’s own skepticism towards the war through my analysis of his main characters Willie and Joe, common soldiers frequently overwhelmed by the tedium of war and military bureaucracy. Chapter 4 explores the propaganda cartoons of the Walt Disney Studios, particularly Chicken Little, Education for Death, Der Fuehrer’s Face, and Reason and Emotion, situating them as precursors to Disney’s future works as an educator.
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Books on the topic "Walt Disney Animation Studios (Firm)"

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Smith, Lella F. Dreams come true: Art of the classic fairy tales from the Walt Disney Studio. New Orleans: New Orleans Museum of Art, 2009.

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Krystina, Madej, and SpringerLink (Online service), eds. Disney Stories: Getting to Digital. New York, NY: Springer New York, 2012.

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

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

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Hudec, Zdeněk. Gender stereotypes in Walt Disney Animation: Ideology, queer, discursive analysis. [Czech Republic]: [publication unknown], 2014.

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Don, Hahn, ed. Drawn to life: 20 golden years of Disney master classes. Amsterdam: Focal Press/Elsevier, 2009.

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Stanchfield, Walt. Drawn to life: 20 golden years of Disney master classes. Amsterdam: Focal Press/Elsevier, 2009.

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Disney Stories: Getting to Digital. Springer, 2012.

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Lee, Newton, and Krystina Madej. Disney Stories: Getting to Digital. Springer, 2012.

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Saxon, Victoria. Poster Art of Cars: Collecting more than a hundred posters and graphics from Pixar Animation Studios and Walt Disney Imagineering. Disney Editions, 2017.

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Book chapters on the topic "Walt Disney Animation Studios (Firm)"

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Montgomery, Colleen. "From Snow White to the Snow Queen." In The Oxford Handbook of the Hollywood Musical, 105—C5.N51. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780197503423.013.28.

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Abstract The Disney Princess film is among Walt Disney Animation Studios’ most iconic, popular, and profitable media properties. While the studio’s production of princess films has fluctuated since the late 1930s, the animated singing princess has become largely synonymous with the Disney brand. As texts centered on and historically marketed to young girls, Disney Princess films also figure heavily in popular and academic debates over the representation of women, gender, and femininity in Disney animation. By contrast, relatively little work attends to the critical role the voice plays within the gendered representational economies of the Disney Princess film. To extend and deepen extant understandings of these gendered dynamics, this chapter begins by tracing the history of female vocality in Disney Princess films of the 1930s to the late 2000s. The study then turns to a close analysis of the relationship between the voice, identity, agency, and female (inter) subjectivity in two recent iterations of the Disney Princess film: Brave and Frozen.
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Lescher, Mary E. "Traditional or Digital: It’s All Hand-Drawn (1989–1990)." In The Disney Animation Renaissance, 47–70. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0003.

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Chapter 2 demonstrates how the Florida studio began operating in much the same way as Walt Disney’s studio during the 1930s and 1940s, primarily utilizing hand-drawn cel animation. This chapter presents a comparative analysis of two films that demonstrate the initial departure from that pipeline, the simultaneous production of The Prince and the Pauper (1990), a featurette distinguished as the last cel animation created at Disney, and The Rescuers Down Under (1990), the first feature-length film produced entirely with the new Computer Animated Production System (CAPS). While much of today’s scholarship focuses on the dominance of computer-generated imagery (CGI), this chapter is interested in identifying the interconnectivity and hybridity of the two working processes, hand-drawn and computer, as artists relied on the best of both methods. The computer initially occupied a supporting role in the animation creation process instead of a starring one.
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Cook, Nicholas. "Disney’s Dream: The Rite of Spring Sequence from ‘Fantasia’." In Analysing Musical Multimedia, 174–214. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198165897.003.0007.

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Abstract Stravinsky’s damning words capture the tone of academic commentary, in so far as there has been any such thing, on the film that Walt Disney believed ‘would signal a new dawn for the animated cartoon’. 3 Disney’s hopes were pinned not only on the technical innovations that ‘Fantasia’ exploited (including unprecedentedly intensive use of the studio’s multi-plane cameras, which allowed independent control of several layers of animation, and a multi-speaker sound system known as ‘Fantasound’), but also on the prospect of bringing works of the high art tradition to mass audiences. ‘Think of the numbers of people who will now be able to hear your music,’ he told Stravinsky.4
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4

Crafton, Donald. "From the Lexigraphic to the Melomanic." In Aesthetics of Early Sound Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727372_ch04.

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Abstract:
Lexigraphic and Melomanic are concepts proposed to fine tune our understanding of American studio animation’s transition to sound. In the 1910s and 1920s, animators and audiences were accustomed to following cartoon stories as a kind of reading, assisted by icons and words-in-the-image stylistics adapted from comic strips and comic books. These symbols and picture-words anticipated emoji, delivering an idea, concept, or emotion in pictorial form. Many animators employed these image-texts and picture icons imaginatively and reflexively. Led by the competitive example of the Walt Disney studio when it converted to sound, the established lexigraphic mode of production and reception gave way quickly to melomania – an obsessive preoccupation with syncing screen action to a pre-recorded soundtrack.
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Conference papers on the topic "Walt Disney Animation Studios (Firm)"

1

Vo, Emily, George Rieckenberg, and Ernest Petti. "Honing USD: Lessons Learned and Workflow Enhancements at Walt Disney Animation Studios." In SIGGRAPH '23: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3587421.3595421.

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2

Nghiem, Nicolas. "Mathematical Tricks for scalable and appealing crowds in Walt Disney Animation Studios’ ”Raya and the Last Dragon”." In SIGGRAPH '21: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3450623.3464650.

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