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

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

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

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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

1

Haswell, Helen. "To infinity and back again." Alphaville: Journal of Film and Screen Media, no. 8 (February 9, 2015): 24–40. http://dx.doi.org/10.33178/alpha.8.02.

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In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation. La Luna (Enrico Casarosa) marks a pivotal shift in Pixar's short film canon by displaying hand-drawn artwork and man-made textures. Widely considered the innovators of computer-generated animation, Pixar is now experimenting with 2D animation techniques and with textures that oppose the clean and polished look of mainstream American animation. This article aims to outline the significant technological developments that have facilitated an organic aesthetic by suggesting
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Kristanti, Vanda, and Ira Maisarah. "Analysis of Moral Values In Walt Disney Pictures and Pixar Animation Studios' Luca." Journal of English for Specific Purposes in Indonesia 2, no. 1 (2023): 53–58. http://dx.doi.org/10.33369/espindonesia.v1i2.26089.

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This research discusses the analysis of moral values in the animated show "Luca". The purpose of this study was to find out the moral value contained in the animated show "Luca" Produced by Walt Disney Pictures and Pixar Animation Studios. This research was carried out based on a qualitative approach that resulted in descriptive using the semiotic approach of Roland Barthes's theory. The data sources used in this study are primary data sources and secondary data sources. Data collection techniques through documentation to find research data through scenes (film scripts, images, or films) from
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Nurul Aini, Riska, and Wiwid Adiyanto. "Resepsi Maskulinitas Perempuan Di Film Raya And The Last Dragon." Linimasa : Jurnal Ilmu Komunikasi 8, no. 1 (2025): 74–90. https://doi.org/10.23969/linimasa.v8i1.13173.

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Earlier Disney films tended to portray women as weak or cunning. Disney has also been criticized for its depiction of mental health in the animation. Raya and The Last Dragon is the latest film from Walt Disney Animation Studios with an action adventure genre released on March 3, 2021. Raya and The Last Dragon is the first film that focuses on Southeast Asian culture. This study aims to describe audience reception related to female masculinity in the film Raya and the Last Dragon. This research refers to the interpretive paradigm. This study places the reception method proposed by Stuart Hall
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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 tha
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Azizah, Siti Nur, and Choeriah Pramadanti. "Karakter Tokoh Utama Film Animasi “Turning Red” Karya Domee Shi." Literature Research Journal 1, no. 1 (2023): 104–13. http://dx.doi.org/10.51817/lrj.v1i1.394.

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The purpose of this research is to describe the main character in the animated film "Turning Red" which will be released by Pixar Animation Studios and Walt Disney Pictures in 2022. This research is descriptive qualitative research. The data in this study is in the form of dialogue with the main character based on a literary psychology approach. Data collection is done by documentation techniques. Triangulation of sources, techniques, and theory is very important to ensure the validity of this research. The results showed: 1) Mei Lee showed all three personality structures, with 7 data of Id,
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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 (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. Base
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Patzner, Claire. "“The World is Cursed”: Studio Ghibli’s Radical Environmental Philosophy." Linguaculture 15, no. 2 (2024): 151–74. https://doi.org/10.47743/lincu-2024-2-0364.

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Film critics and academics have praised Studio Ghibli for its films’ bold and upfront depictions of war, the Anthropocene, and human consumption. In contrast to American major animation studios who may only touch upon these issues thematically or allegorically to appeal to the masses, the Japanese filmmakers at Studio Ghibli are unafraid to continuously and directly depict war and human greed. This paper focuses on Studio Ghibli’s ecocritical depictions compared to its American Hollywood animated counterparts, such as Walt Disney Studios, Pixar Animation Studios, and DreamWorks Pictures. Altho
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Wahyuni Esiyansyah, Tulus Rega. "MAKNA PERSAHABATAN DALAM FILM LUCA MELALUI PENDEKATAN SEMIOTIKA FERDINAND DE SAUSSURE." JURNAL Dasarrupa: Desain dan Seni Rupa 5, no. 3 (2024): 22–29. http://dx.doi.org/10.52005/dasarrupa.v5i3.168.

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Penelitian ini bertujuan untuk menganalisis makna persahabatan dalam film animasi Luca yang merupakan film hasil kolaborasi antara Pixar Animation Studios dan Walt Disney Studios. Metode yang digunakan dalam penelitian ini adalah penelitian kualitatif dengan analisis pendekatan semiotika Ferdinand de Saussure. Teknik analisis data dalam penelitian ini menggunakan langkah-langkah: 1) Menonton dan memperhatikan detail dari keseluruhan film Luca yang berdurasi 95 menit; 2) Pengambilan serta pemotongan adegan atau scene yang berupa dialog ataupun tindakan yang berhubungan dengan objek yang akan pe
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Fonneland, Trude. "Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency." Religions 11, no. 9 (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-f
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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 (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 se
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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 i
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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 sk
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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.

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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in cust
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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 thes
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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 Museum of Art, 2009.

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

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

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

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

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

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Stanchfield, Walt. Drawn to life: 20 golden years of Disney master classes. 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. 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
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Gerow, Aaron. "Fleischer Brothers (1883–1972 and 1894–1979)." In Routledge Encyclopedia of Modernism. Routledge, 2025. https://doi.org/10.4324/9780415249126-rem2175-1.

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Max Fleischer (17 July 1883–11 September 1972) and his brother Dave (14 July 1894–25 June 1979) were innovators in the world of animated film and before World War II were Disney’s main competitors in the cartoon business. In 1915, Max patented the rotoscope, a process that enabled the animator to trace the filmed movements of live–action actors to create greater realism, one that animators from Walt Disney (1901–1966) to Ralph Bakshi would later use. At John Randolph Bray’s studio, the brothers first developed the ‘Out of the Inkwell’ series, eventually featuring a rotoscoped KoKo the Clown ba
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Lescher, Mary E. "Traditional or Digital: It’s All Hand-Drawn (1989–1990)." In The Disney Animation Renaissance. 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 sc
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Cook, Nicholas. "Disney’s Dream: The Rite of Spring Sequence from ‘Fantasia’." In Analysing Musical Multimedia. 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
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Crafton, Donald. "From the Lexigraphic to the Melomanic." In Aesthetics of Early Sound Film. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463727372_ch04.

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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 w
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Conference papers on the topic "Walt Disney Animation Studios (Firm)"

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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. ACM, 2023. http://dx.doi.org/10.1145/3587421.3595421.

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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. ACM, 2021. http://dx.doi.org/10.1145/3450623.3464650.

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