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

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.

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.

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.

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.