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

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.

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.

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.

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

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.

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.

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.

The article discusses the influence of Walt Disney Studios on the development of Soviet animation, which developed in the mid-20th century. The distinctive features of the artistic language of American animation are identified, and the graphic style of Walt Disney Studios is described. The historical stages of the development and formation of animation as a specific type of art in the Soviet Union are analyzed. The main principles and technological techniques for creating graphic animation are described, and the main stylistic directions and genre themes of animated films created by Soviet animators are identified. It is argued that Soviet animation, after going through a difficult path of technical difficulties and the search for an individual style, was able to enter the classics of world animation.

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.

Iker De los Mozos es un animador especializadoen la construcción y articulación de personajes3D, que en la actualidad trabaja en Walt DisneyAnimation Studios. Ha trabajado en Londres paracompañías como Nexus Productions y The Mill,donde ejerció como “rigger” en varios anunciospara cine y televisión. Anteriormente trabajó comosupervisor de “rigging” en Kandor Graphics parala película Justin y la espada del valor (Manuel Sicilia,2013) y cosechó dos Goyas con La dama y lamuerte (Javier Recio, 2010) y El lince perdido (ManuelSicilia, Raúl García, 2009). Su primer proyectocomo “rigger” profesional fue Planet 51 (2010), deIlion Animation Studios, también galardonada coneste premio. Iker De los Mozos es, además, profesordel módulo de SetUp y Rigging en el Máster de Animaciónde la UPV.

The establishment of The Walt Disney Company can be traced back to the year 1923, when two brothers, Walt and Roy O. Disney, founded a small animation studio that has further developed into a global media organization through strategic innovation, diversification, and expansion. The paper analyses the business development of Disney by looking into its historical background, diversification policies, globalization, digital transformation, and its social and environmental responsibilities. Through the acquisition of big studios like Pixar, Marvel, and Lucasfilm as well as the launch of Disney+ streaming service Disney has furthered the diversity of the entertainment offering as well as kept up with the needs of the digital age. The international theme parks and media networks owned by the company show their global influence and ability to adapt the local context through portraying different cultures. Disney`s way of dealing with the sustainability and social responsibility is a solid proof of its environmental protection and community contributing. The COVID-19 pandemic, among other challenges, did not obstruct Disney’s goal-oriented orientation and resourcefulness in achieving the desired outcomes. Thus, this study underlines the everlasting impact of Disney and its innovative approach for further development in a very dynamical sector of the entertainment industry.

O presente artigo tem por objetivo compreender as representações das mulheres em duas animações da Walt Disney Animation Studios, a saber, Branca de Neve e os Sete Anões, de 1937 e Mulan, de 1998. A partir de duas narrativas distintas, em contextos sociopolíticos e de produção diferenciados, procuramos compreender quais discursos são propagados pelas narrativas fílmicas. Ademais, buscamos relacionar tais discursos com mudanças ligadas à História das Mulheres e às discussões de gênero que avançam exponencialmente desde a década de 1980 no campo historiográfico.

The firm I am researching is a diverse global media corporation located in Walt Disney's Burbank Studios in Los Angeles, California, USA. SWOT analysis was used to research the Disney Company. During my investigation on the Disney Company, I discovered that around the start of the pandemic, the whole economic curve of the Disney Company collapsed, including total assets and earnings. However, due to the sluggish development of internet company, after adopting to the new strategy, it has gradually ushered in a pretty decent momentum, and its income has steadily returned over the last two years.If the Disney Company continues to grow at its current rate, it will become the world leader under the impact of the pandemic. This article examined the CAPM model's stability, and via my study on Disney, I discovered that the effect of two separate markets on the stock of the firm I investigated is beneficial to investors' investment decisions.

Every animator has a different way of planning to make animated characters motion system. Planning makes animation can be done by making the timing including with the drawing motion pose options on the character, making self-video recording contained own acting choices, and studying references in accordance with the animation that will be created. Creating animated characters requires skills in image selection, acting, and timing. Before going through the process of making animation, an animator must know and understand the characters and situations in a scene. Every movement and action should have a reason to show the personality of the characters in order to complete the story supports. In addition to the nature of the characters, an animator also needs to know the situation in a scene. Many animators use animation principles that have been developed by Walt Disney Studios, USA, to improve their animated creations. Yet, many animators also develop their animated creations using principles that have been developed in Japan. However, the discussion in this paper is the animation using the principles developed in the United States.

O filme “Hércules”, de Walt Disney Animation Studios, retrata o percurso deste herói grego para retornar ao Monte Olimpo, morada dos deuses, de onde foi tomado quando criança. Embora lançado originalmente em 1997, foi relançado em Blu-ray em 2014 e retransmitido pela Cinemark no Brasil em 2017, o que demonstra sua atualidade no trato de assuntos pertinentes aos estudos do universo do corpo. No presente trabalho, por meio da análise fílmica, objetivamos compreender as representações sobre corpo e gênero empregados no filme. Identificamos durante a trama diversos ícones e mensagens acerca de corpos válidos e aceitáveis disseminados ao público infantil, estritamente veiculados a preceitos normativos e coercitivos de corpo e suas masculinidades.

This research is an analysis of an animation movie by Walt Disney Animation Studios entitled Zootopia. The story of Zootopia, just like other animation movies which can be generalized as intended for children. It contains a positive message which can be seen from the tagline of this movie; “This is Zootopia. Anyone can be Anything”. However, this research tries ascertaining the opposite as it can be seen that the message of the movie is not entirely true. It is under descriptively qualitative method supported by the Theory of Deconstruction as a framework -- that a text can betray itself and this movie is no exception. In Zootopia, just like in human world, the animals are divided into species and kinds or types. This division can clearly lead to discrimination, stereotypes and prejudice. At the end, the notion that anyone can be anything is right to some extend but there are certainly limitations and boundaries that one cannot across to avoid instability in the life of the animals. Thus, the movie can be ‘read’ as having an entirely different message. This research shows that an animation movie can also be interpreted in many ways and may indeed reflect what happens in our reality.

Salvador Dalí claimed that he made his whole life “a work of alchemy.” He saw in alchemy the principle of metamorphosis and “the transmutation of bodies.” Carl Jung recognized “imaginatio” as the key to alchemy. As Patrick Harpur suggests: “The Work takes place in a realm intermediate between mind and matter. It is a daimonic process, a ‘chemical theatre’ in which processes and psychic transformations interpenetrate.” The alchemist does not simply work on matter, but on the self. In Dalí’s “paranoiac-critical method,” objects similarly seem to exist in an “intermediate realm between mind and matter”; they are animated presences, with a life of their own. The Dalínean double-image is itself a kind of alchemical magic, invoking the “transmutation of bodies.” In 1946, Dalí began work for the Walt Disney Company on a short film, Destino. This would be, he claimed, the “First Surrealist Cartoon.” The appeal of animation for him may have been based in part in what Eisenstein termed “plasmaticness”: the “ability to dynamically assume any form.” Animation, then, may be seen as a kind of “chemical theatre.” As a “realm between mind and matter,” it also functioned for Dalí as a form of mundus imaginalis, in which he could engage with the “obsessing” images in his psyche. In Destino, Dalí invoked the alchemical process as a journey to tranfiguration and psychological “rebirth.” The film was not completed in his lifetime; this account is based on the original storyboards which he produced.

The deals in the dynamic media and entertainment industries have been paid great attention to in recent years. One of the most valuable things that companies competed for was customers attention. Hence deals were made to provide unparalleled technologies or content. The case studies adopted in this study are objective and specific. Focusing on the analysis of two representative acquisition deals in the media and entertainment industries, this article gives a comprehensive introduction to Walt Disney Company, Pixar Animation Studios, Microsoft Corporation and Activision Blizzard, lists essential contract terms and summarizes the changes. To conclude, in the process of merger or acquisition, technologies and entertainment content are key elements in companies consideration. Through exchanging and sharing resources, parties involved in the deals could achieve a win-win relationship. Nevertheless, there are also many problems that need to be solved, including the interference of the third party, cultural conflict and changing market requirements.

Raya and The Last Dragon is the latest computer-animated film from Walt Disney Pictures and Walt Disney Animation Studio. This animated film, directed by Don Hall and Carlos Lopez, tells the story of the adventures of a woman named Raya in saving the world. This journal article aims to analyze and describe the moral messages contained in the film Raya and The Last Dragon. This research uses qualitative methods, with Roland Barthes semiotics analysis approach, so that ultimately obtained the results of research on what moral messages contained in every dialogue spoken by each character such as moral messages about friendship, cooperation, responsibility, leadership, courage, unity, and most often appears in this film is the power of trust in each other to create unity without division.

Music from Walt Disney’s animations is an element of pop culture. However, it is not a world limited to popular music but a space where ethnic music meets new sounds. The world of contemporary music enters a dialogue with the music of the sources, becoming its new translator. Thanks to Walt Disney’s film productions, multicultural music education opens up a new dimension in which globalization becomes an ally of local culture. The article addresses how both sound and word are used to present a different culture. In the cited examples, the language with its rhythm and melody is treated as an interesting musical material. Selected Walt Disney films were analyzed – their soundtracks as well as articles and reviews, blogs about the studio’s musical productions. In the considerations, a lot of attention was devoted to the song, which is the carrier of the main content of the film and the most frequently played element of the film image. Some attempts were made to indicate its functions in intercultural education, but also the ways of its use in child education.

As the consciousness of coloniality, diversity, and the necessity of not only token depictions of otherness but accurate representations of diversity in literature and film has grown, there has been a shift in the processes of adaptation and appropriation used by major film production companies and how they approach representing the other. One clear example of this is the comparison of the depiction of diverse, cross-cultural womanhood between Walt Disney Animation Studio’s Mulan (1998) and Moana (2016). This paper will use a cross-period approach to explore the ways in which a global media conglomerate has and has not shifted its approach to appropriation of the multicultural as other and the implications for representational diversity in the context of globalization and a projected global culture. In one case, a cultural historical tale was decontextualized and reframed, while in the other, cultural actors had a degree of input in the film representation. By examining culturally specific criticisms and scenes from each film, I will explore how the legacy of coloniality can still be seen embedded in the framing of each film, despite the studio’s stated intentions towards diversity and multiculturalism.

Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.

Di era globalisasi ini, adat istiadat terlihat mulai terkikis oleh budaya modern. Banyak masyarakat yang mulai tidak mengenali adat istiadat dari tanah air mereka. Bagusnya, Walt Disney Animation Studio mengeluarkan film animasi berjudul “Raya and the Last Dragon” yang mengadaptasi budaya Asia Tenggara. Negara-negara di Asia Tenggara sendiri memiliki ciri khas fisik, latar belakang, dan budaya yang hampir serupa. Budaya di Asia Tenggara ini dinilai sangat autentik, unik, dan ethnic oleh orang-orang barat. Peneliti tertarik untuk menelaah penggunaan budaya Asia Tenggara pada desain environment di film ini. Penelitian ini menggunakan metode penelitian paradigma kualitatif. Hasil dari penelitian ini adalah terdapat unsur budaya dan arsitektur Asia Tenggara di setiap negara yang diceritakan, dapat dilihat dari ciri geografis, ukiran, bentuk bangunan, dan properti. Harapannya, dengan adanya hasil dari penelitian ini dapat menginspirasi banyak orang untuk lebih mencintai budaya sendiri dan membuat karya yang dapat memperkenalkan Indonesia kepada dunia.

Raya and the Last Dragon merupakan salah satu film animasi dari Walt Disney Studio yang dirilis pada awal 2021. Film tersebut menceritakan petualangan tokoh bernama Raya di negeri Kumandra yang mencari naga untuk membasmi musuh dan menyelamatkan dunia. Dalam film tersebut terlihat elemen kuat warna, aset, latar belakang, nilai-nilai kehidupan, kebiasaan, dan adat istiadat yang sangat dekat dengan kehidupan sehari-hari masyarakat di Asia Tenggara. Dilihat dari indikasi tersebut, maka terdapat politik identitas yang mencerminkan bangsa di wilayah Asia Tenggara. Penelitian ini bertujuan meneliti bagaimana politik identitas terbentuk dan mempengaruhi persepsi penonton dalam mengapresiasi kebudayaan Asia Tenggara. Metode penelitian menggunakan pendekatan kualitatif dan dianalisis menggunakan teori politik identitas. Hasil penelitian menyimpulkan bahwa politik identitas yang dibangun melalui penceritaan nilai kehidupan, desain aset, dan desain karakter tokoh film Raya and the Last Dragon telah berhasil membangun persepsi tentang Asia Tenggara, sebagai bangsa yang berkebudayaan dan berkarakter dengan nilai-nilai spiritualitas untuk hidup berdampingan dengan bangsa lain, makhluk hidup, dan alam semesta. Namun, ketiadaan pengisi suara yang berasal dari Asia Tenggara pada film yang pertama kali rilis menggunakan bahasa Inggris menyebabkan hilangnya unsur “rasa memiliki” bagi penonton. Film ini menjadi penanda penting dalam politik dagang Amerika di wilayah Asia, di mana peluncuran film terjadi di saat bersamaan dengan banyaknya tragedi Asian Hate di wilayah Amerika dan Eropa. Raya and the Last Dragon is one of the Walt Disney Animation Studio films released in early 2021. The film tells the adventures of a character named Raya in the land of Kumandra who is looking for dragons to eradicate enemies and save the world. The film shows strong elements of color, background, assets, attributes, life values, habits, and customs which are very close to the daily lives of people in Southeast Asia. Based on these indications, there is an identity politics that reflects the nation in Southeast Asian region. This study aims to examine how identity politics is formed and influences the audience's perception of appreciating Southeast Asian culture. The research method uses a qualitative approach and analyzed using the theory of identity politics. Results of the study conclude that identity politics built through values of life, asset design, and character design for the film Raya and the Last Dragon has succeeded in building perceptions about Southeast Asia, as a cultured and characterized nation with spiritual values to coexist with other nations, living things, and the universe. However, the absence of an Asian voice actor in the film, which was first released in English, caused the audience to lose the element of a sense of belonging. This film became an important mark in American trade politics in the Southeast Asian region, where the film's release occurred at the same time as the many Asian Hate tragedies in American and Europe.

In the last decades, ethnolinguistic Otherness has assumed an increasingly prominent position in many audiovisual products focusing on non-mainstream cultures otherwise quite voiceless in audiovisual media and giving voice to multilingual discourse practices where code-switching stands out as a key conversational strategy in expressing linguacultural diverse identities. This ties issues of on-screen multilingualism to the field of audiovisual translation and raises new challenges as far as the screen representation/translation of linguacultural specificities is concerned. All this is interestingly to be observed in animated films; indeed, since the early 1990s, such important animation production companies as Walt Disney, Pixar, and Dreamworks began to produce ethnically diverse films offering deep sociolinguistic insights into non-dominant countries and populations whose richness is conveyed on the screen by dialogues interspersed with their native languages, acting as vital symbols of their ethnocultural identity. Starting from these observations, this paper aims at looking contrastively and diachronically at how L3s, i.e., languages different from both the language of the original film and the language of the film’s dubbed version, used in instances of turn-specific, intersentential and intra-sentential code-switching, have been dealt with in the original version and in the Italian dubbed version of thirty American multilingual animated films, released between 1991 and 2022. The main objectives of this study are: to verify to what extent the original ethnolinguistic Otherness is either retained for the Italian audience or manipulated in dubbing; to observe whether and how the screen translation studies’ approach in conveying linguistic diversity in animation has possibly changed over the last thirty years; and to point out what can be achieved by audiovisual translation in terms of intercultural/interlingual transmission when autochthonous linguacultures are represented in animated films.

Walt Disney Animation Studios is the animation studio responsible for creating some of the most beloved Disney films ever made and continues to expand with the production and release of more films exploring and prioritizing diversity, including their promise to "honor heritage through animated films". Encanto is a popular animated children's movie released in 2021 by Walt Disney Animation Studios surronding a family with magical powers that live in rural Colombian. This movie promises to deliver diversity and accurately portray not only the setting but the people of Colombia, visually, emotionally and intellectually. However, media has been misaccurately representing Hispanic people, specifically women for decades, including Disney films. This paper explores how each woman in the film is represented in relevance to traditional women values embeded in Colombian culture, and how their emotional process throughout the film either enforces stereotypes already created and portrayed in American media, or establishes relevancy and validity once compared to real Colombian values.

Since the merger of Walt Disney Animation Studios and Pixar Animation Studios, Disney has been lauded for creating more progressive content that includes representations of main characters from diverse backgrounds. However, progressive representations of disability (both physical and mental disability) have been slow to emerge in most mediums. The objective of this research is to examine whether portrayals of illness and disability in recent animated feature films produced by Walt Disney Animation Studios or Pixar Animation Studios depict progressive (or multicultural) narratives of disability versus traditional narratives of disability. We analyzed 20 of the most recent (i.e., 2008-2018) animated films from both studios with 9 films from Walt Disney Animation and 11 films from Pixar Animation Studios. Using thematic content analysis, a combination of pre-identified and emergent disability- and illness-related themes are described. Overwhelmingly, disability portrayals were traditional, with disability used to elicit pity or humor from the viewer and to indicate that characters were evil or old. Out of the 20 films, few progressive portrayals of disability were observed. Although Disney has been lauded for being more inclusive in their representations of characters, disability representations continue to perpetuate and reaffirm the stigmatization of disability.

A partir de “Da Imperfeição” de Greimas (2002), o texto discorre sobre as fraturas e escapatórias em “Ratatouille”, produção da Pixar Animation Studios em parceria com a Walt Disney Pictures, lançada em 2007. A análise se concentra nas escapatórias provocadas pela personagem Remy e na fratura ocorrida na cotidianidade de outra personagem, Anton Ego. Pretende contribuir com a educação, na medida em que convida professores a provocarem escapatórias e vivenciarem fraturas em sala de aula.

From hand drawn sketch to CGI, this journal gives the historical analysis of evolution of animation and graphics in this modern world. Beginning with an exploration of early forms of animation, such as flip books and hand-drawn cell animation, the paper examines key technological advancements that revolutionized the industry, including the development of computer- generated imagery (CGI), 3D animation, and motion capture techniques. Through a historical lens, this study highlights the contributions of pioneers such as Walt Disney, Pixar Animation Studios, and Industrial Light & Magic, whose innovations have shaped the trajectory of animation and graphics over the past century. Furthermore, the article explores the societal and cultural impact of animated media, from its role in entertainment and storytelling to its applications in education, advertising, and virtual reality. By analysing the evolutionary path of animation and graphics, thispaper provides valuable insightsinto the past, present, and future of this dynamic and influential art form.

Quality animation have high production costs, which has led its creators to find a way to finance these artistically ambitious projects from the very beginning. That is why Walt Disney, through Kay Kemen, sold his main character´s copyright: Mickey Mouse. The sale of products allowed that Mickey Mouse started to be part of homes around the world, generating an effect of veneration for these objects, by oscillating between the fetish and the magical or religious idol. Thus, animation is postulated as a factory that generates pop culture icons.A phenomenon not exclusive to the West, considering that in Japan there was a parallel one: AstroBoy, the most iconic character of Osamu Tezuka, whose Japanese animated series was the first broadcast in the USA. The benefits derived from the sale of licenses of these characters supported the Japanese studios financially. For this reason, animation merchandising has been one of the main means that allows cultural globalization between East and West for decades. In that way, products like Astroboy, Frozen, Dragon Ball or Pokemon are some of the main exponents.The importance of merchandising that animation industry has generated in pop culture has led artists to appropriate characters and reinterpret them.The purpose of this paper is the analysis of the globalizing potential of animation through merchandising.

An abundance of previous research has investigated how gender has been portrayed within feature length films produced by Walt Disney Animation Studios, particularly those within the Disney princess franchise. However, the Disney corporation acquired the Marvel and Star Wars franchises in 2009 and 2012, respectively, which was likely a strategy for the corporation to obtain characters that would capture the imagination of boys and men. The current qualitative study explored how gender is portrayed by leading protagonists in these texts, utilising thematic analysis, which was necessary considering little is currently known in this domain. The researchers analysed series one of Avengers Assemble and series one of Star Wars Rebels. Interpretation of the data led to the development of several themes and subthemes based on the gendered portrayals within each series. Overall, the findings suggest that there was more overt gender stereotyping in Avengers Assemble when compared with Star Wars Rebels, meaning that the former could be particularly problematic for children who may replicate its messages. The current study has facilitated a greater understanding of the gendered messages that may be consumed by children who engage with Marvel and Star Wars media. Future research is needed to assess the relationship between such messages and children’s behaviour.

Adapting the vivid programmatic music of Prokofiev’sPeter and the Wolf(1936) into an animated film could have been a straightforward process, yet the earliest animated versions took significant artistic liberties with Prokofiev’s symphonic tale, projecting vastly different interpretations of the story. Walt Disney produced the first animation in 1946 in an anthology of shorts released to theaters. In 1958,Soyuzmultfilm—a Soviet Studio—created a stop-motion puppet version. Both screen adaptions make cuts to Prokofiev’s score, reorder musical segments, and rewrite parts of the narrative. A comparison of Prokofiev’s concert version with these animations reveals a fascinating reception history over two decades from both Soviet and American perspectives. Although deceptively simple on the surface, these animated films are sophisticated artistic expressions conveying nuanced political and cultural values.

Animated series for television have a long history. The first animation experiments began with short cartoons produced for the cinema in the 1920s and 1930s. However, it took a little longer for animation to become widespread and popular in the television environment. The 1950s and 1960s were the periods when animation became widespread on the television platform as television entered homes. During this period, Walt Disney, Warner Bros. Studios such as Hanna-Barbera and Hanna-Barbera began to present various animated series to television audiences; Especially the series produced by the Hanna-Barbera studio attracted great attention from television viewers, and many classic productions appeared during this period. It is also seen that the first visual identity designs for animation series were produced during this process. Visual identity has the power to leave a lasting impact on popular culture and is thought to play a key role in the success of animated series. From this perspective, research constitutes an important issue. Within the scope of the limitations of the study, only milestone animation series produced in the United States were discussed, and the aim was to analyze samples and convey expert opinions within the framework of the descriptive analysis method. Batman: The Animated Series (1992-1995), which constitutes the sample of the research, was examined in terms of visual identity elements such as logo, typography, episode covers, and color palette. It has been concluded that visual identity elements are also important in the branding process of animation series, in addition to technical details such as story, scenario, fiction and graphics; In addition, it is aimed to create a Turkish resource for relevant stakeholders.

<p>For almost all sales men, the strategy of time becomes the main key of selling effectiveness. Having appointment in a product’s presentation is oftenly measured by a very short times to deliver. In many cases, delivering the detail of products must be done at a sudden spot and extremely short time where he/she does not imagine before. This needs skill of designing the points of products and how to execute well in order to get the best memorable experience. Entertainment industry especially movie has a very unique on its competition. The development of technology totally delivers big change on how to produce a good film. In recent years, the capability of actor or actress is not the main consideration. We can find many brilliant of them have contributed playing the script however it’s not in line with the moviegers’ responses or the revenue itself. The interest of moviegoers on film sometimes can be seen by various factors. Sound effect, animation technology, pictures editing, original soundtrack, trailers, towards to the name of production house, are numbers of x-factors affecting the moviegoers.</p><p>This paper intends to describe how the elevator speech-official movie trailer affects the moviegoers. Further this paper also intends to describe how the big production house affects the moviegoers. The analysis is measured by the regression which comes from one hundred respondent involved. The instrument used to collect data is by questionnaire. Most of respondents have the same response that almost all of the indicators have big effects for them.</p><p> </p><p>Keywords- Elevator Speech, Brand Awareness, Buying Decision</p>

Introduction The Disney brand has become synonymous with magic through its numerous depictions of spells, curses, prophecies, and pixie dust. Thus, it is ironic that in 2023, the 100th anniversary of the Walt Disney Studio’s founding (“Disney History”), the final film released during Walt Disney’s life, The Sword in the Stone (celebrating its 60th anniversary) remains stuck in obscurity (Aronstein 129) despite being steeped in magic and wizardry. The Sword in the Stone is regarded as “one of the most obscure [films] in the Disney animated canon” (Booker 38). Although it performed moderately well during its debut in 1963, its 1983 re-release and home video sales failed to renew public interest. To date, The Sword in the Stone has no games, comic series, or even Disneyland merchandise (Aronstein 129). The film is hardly a technical marvel; its sketchy animation style and blue-slate backgrounds create a dingy, unfinished look (Beck 272), while its simplistic storyline and anachronistic humour have been criticised for being ill-matched with its Arthurian subject matter (Gossedge 115). Despite these flaws, The Sword in the Stone offers the studio’s most fully rendered representation of Disney magic as benevolent forces sourced in learning and discipline that enable good-hearted protagonists to prepare for future leadership roles. By approaching the film as a didactic text separate from its Arthurian origins, I will demonstrate how The Sword in the Stone defines magic, not by nebulous spells or hexes, but by its facilitation of societal advancement and transformative powers via the educated mind. Young Arthur’s Humble Beginnings Based loosely on T.H. White’s 1938 novel of the same name (Valle 224), The Sword in the Stone takes place in medieval Europe, with most of its action occurring in a rotting castle and surrounding wolf-infested forests. In this threatening world, magic takes many forms, from powerful acts of “sorcery” to comical displays of “Latin business”. The first allusion to magic occurs during the film’s opening song, which establishes its setting (“when England was young”) and primary conflict (“the good king had died, and no one could decide who was rightful heir”). Without a ruler, England will be destroyed by civil war unless miraculous forces intervene on its behalf. This ‘miracle’ is the eponymous sword in the stone that the rightful ruler of England will free. The sword is destined for King Arthur, but as he is only an orphaned child living in obscurity at the film’s beginning, no one manages to retrieve the sword in his stead, and so the ‘miracle’ seemingly fails. The film’s off-screen narrator describes this leaderless period as “a dark age … where the strong preyed upon the weak”. As a force that trumps brute strength, magic is prized by those who can wield it, particularly the wizard Merlin. Magic is regarded with suspicion by the majority who cannot practice it (Valle 234), though they still recognise its legitimacy. Even Arthur’s practical stepfather, Sir Ector, begs Merlin not to practice any “black magic” on his family after Merlin creates an indoor “wizard blizzard” to prove his seriousness in tutoring Arthur. Merlin is a far cry from the mysterious soothsayer of Arthurian legend. He has been Disneyfied into a caricature of the famed wizard, appearing more like an eccentric academic than an all-seeing mystic (Beck 272). Susan Aronstein describes him as “the reification of Disney’s post-World War II rebranding of itself as a leader in education in the wake of a postwar shift in American child rearing” (130)—a playful pedagogue who makes learning fun for Arthur and audiences. After meeting Arthur in the woods near his home, Merlin becomes determined to rectify the boy’s educational deficiencies. It is not yet clear whether Merlin knows who Arthur is or will become; Merlin merely repeats to his owl companion, Archimedes, that the boy needs an education—specifically, a modern education. In addition to presenting Arthur with evidence of his travels to the future, such as helicopter models, Merlin rattles off a litany of subjects common to twentieth-century American curricula (English, science, mathematics) but hardly the sort of fare pages of Arthur’s status would study in fifth-century England. Because Arthur’s royal lineage is unknown to him, he aspires to be a squire for his soon-to-be-knighted stepbrother and so must learn the rules of jousting and horsemanship when not otherwise preoccupied with page duties. These include scrubbing pots and pans, cleaning floors, and fetching anything his stepfather requests. While Arthur is not resistant to Merlin’s attempts to teach him, he struggles to balance Merlin’s demands on his time with Sir Ector’s (Pinsky 85). Young Arthur’s gangly stature conveys how stretched the boy is between his indentured servitude to Ector and Merlin’s insistence upon his liberation through education. Arthur is constantly in motion, scurrying from one task to the next to please all parties involved and often failing to do so. Each time Merlin’s instruction causes the boy to miss Sir Ector’s call, Arthur is punished with additional duties (Holcomb et al.). Merlin’s Instructive Magic Merlin uses magic to bridge the gap between Arthur’s responsibilities to his present and his future. The word “magic” is spoken fifteen times in the film, six by Merlin himself. The wizard first utters the word after packing his entire house (furniture and all) into a carpet bag. Arthur is impressed, but Merlin warns him that magic is no panacea: “don’t you get any foolish ideas that magic will solve all your problems”. Even Merlin struggles to convince Sir Ector to let him tutor Arthur and to prevent predatory animals from killing the boy during their adventures together. Magic has limits. It cannot penetrate the minds of humans nor quell the instincts of wild animals. Its impact seems restricted to the physical world. Merlin primarily uses magic for physical transformation; his lessons centre on changing Arthur into different animals to enable the future king to experience life from others’ perspectives. Merlin turns Arthur into a fish, a squirrel, and a bird, with each animal’s situation representing increasingly complex problems that Arthur must overcome. Each lesson also corresponds with one or more levels of Maslow’s hierarchy of needs: (1) safety and survival, (2) love and belonging, and (3) self-esteem and self-actualisation (Lester 15). As a perch swimming around the castle moat, Arthur learns to use his intellect to evade a toothy pike that nearly eats him alive. As a squirrel, Arthur observes the heartbreak of unrequited love, foreshadowing his complicated love triangle with Guinevere and Lancelot (Grellner 125). In avian form, Arthur experiences a much-needed boost in his self-worth after Sir Ector strips him of his squire-in-training status. In flight, Arthur seems most in his element. After struggling with the logistics of swimming as a fish and navigating trees as a squirrel, Arthur soars over the countryside, even showing off his acrobatics to Archimedes flying alongside him. Although Arthur relishes these experiences, he does not seem to grasp their broader implications. He describes his first magical lesson as “so much fun” (despite having nearly died) and pauses only momentarily at the end of his second lesson to reflect on the emotional damage he causes a heartbroken female squirrel who falls madly in love with him. Still, Arthur faces mortal danger with each lesson, so one could argue that by transforming the young boy into different animals, Merlin is honing Arthur’s problem-solving skills (Holcomb et al.). Madam Mim’s Destructive Magic When Arthur is turned into a bird, his third lesson takes an unexpected turn. After narrowly escaping a hawk, Arthur flies into the forest and falls down the chimney of a rival magician named Mad Madam Mim. After introducing herself, Mim insists to Arthur that she has far more magic “in one little finger” than Merlin possesses in his entire repertoire. She displays her powers by killing plants, changing sizes, and making herself monstrous or lovely according to her whims. Mim’s demonstrations suggest a breezy familiarity with magic that Merlin lacks. Whereas Merlin sometimes forgets the “Latin business” needed to invoke spells, Mim effortlessly transitions from one transformation to another without any spell use. The source of her power soon becomes apparent. “Black sorcery is my dish of tea”, she croons to Arthur. Compared to Merlin’s Latin-based magic, Mim’s “black sorcery” is easier to master and well-suited to her undisciplined lifestyle. Mim’s cottage is filthy and in disrepair, yet she is playing solitaire (and cheating) when Arthur stumbles into her fireplace. This anachronism (since playing cards would not be introduced to Europeans until the fourteenth century; DeBold) characterises, through visual shorthand, Mim’s idle hands as the Devil’s workshop; she also possesses a modern dartboard that she throws Arthur against. Unlike Merlin’s domicile, Mim’s cottage contains no books, scientific instruments, or other props of study, indicating that there is no deeper understanding behind her magic. As Latin is the root language of science and law, it seems fitting that Latin is not part of Mim’s repertoire. She simply points a finger at an unfortunate subject, and it bends to her will—or dies. Efficient though Mim’s magic may be, its power is fleeting. Mim briefly changes herself into a beautiful young woman. But she concedes that her magic is “only skin deep” and turns herself back into “an ugly old creep”. Evidently, her magic’s potency does not last long, nor is it capable of improving her situation, as she continues living in her broken-down cottage as a bored, friendless hermit. Her black magic may be easy to master but cannot impart meaningful change. And so, while Merlin can use his magic to improve Arthur’s life, Mim’s magic can only serve the status quo described at the film’s beginning: the strong preying upon the weak. Although Mim lives outside the feudal social hierarchy, she uses her magic to terrorise any unfortunate creatures who wander into her clutches, including Arthur. When Arthur (still in bird form) states that he prefers the benevolence and usefulness of Merlin’s magic, an infuriated Mim transforms herself into a hungry cat and chases Arthur around the cottage until Merlin arrives to save the boy. Merlin then challenges Mim to a wizard’s duel, during which he and Mim attack each other in animal forms ranging from foxes and caterpillars to tigers, goats, and elephants. Each time Mim transforms, she does so seamlessly, requiring no momentary pause to recall a spell, unlike Merlin, who stumbles across the Latin phrases necessary to change himself into something faster or bigger. But after Merlin transforms into a walrus and squashes a clucking chicken Mim, the momentum shifts in his favour. Her magic becomes tinged with rage that causes her to make mistakes, including biting herself as a snake and ramming herself into a tree in rhinoceros form. Merlin’s disciplined playing style is nearly errorless. Although he becomes frightened when Mim transforms into a fire-breathing dragon, Merlin continues to play sensibly and courageously. His final winning move is to transform himself into a measle-like germ that incapacitates Mim with violent sneezing and cold flashes (Perciaccante and Coralli 1171). Arthur is astonished by the brilliant manoeuvring of his mentor, who manages to win the duel fairly “by dint of his knowledge and study” (Pinsky 86). After stating the lesson’s summative point for Merlin—“knowledge and wisdom is the real power”—Arthur vows to redouble his efforts to complete his education. Education: The Film’s Real Magic The lesson for viewers is simple enough: an education has a magical impact on one’s life. Put more succinctly, education is magic. Merlin defeats Mim because of his greater knowledge and cleverer use of spells. Arthur will overcome his low social status and ascend to the throne by becoming literate and sharpening his intellect. But as with Merlin’s acquisition of magical knowledge through intense study, Arthur’s royal ascension must be earned. He must learn the literal ABCs of language acquisition to gain others’ shared knowledge, as illustrated by a scene in which Archimedes painstakingly teaches Arthur how to write the alphabet in preparation for reading an enormous stack of books. Merlin cannot magically impart such knowledge to the future king; Arthur must learn it through sustained effort. He also must learn to make informed decisions rather than respond to panic or anger as Mim does during her duel with Merlin. Herein lies the distinction between Mim’s and Merlin’s magic: transformative impact. Mim’s black magic has locked her into her chosen fate. By using her powers to amuse herself or cause others harm, Mim perpetuates her outcast status as the stereotypical witch to be feared (Valle 234). While her cottage contains anachronistic elements such as playing cards (suggesting that she, like Merlin, has time-travelled), it contains no evidence of the modern advances that Merlin shares with Arthur, like aeroplane models, nor anything that might improve their feudal society. Merlin’s magic, by contrast, facilitates immediate changes to Arthur’s world and offers the promise of technological advancements in the centuries to come. To reduce the boy’s workload, for instance, Merlin magically conjures up a factory-style assembly line of brushes, tubs, and mops to wash dishes and scrub kitchen floors. Merlin also shares his knowledge of humankind’s future achievements with Arthur to advance his education, providing him with models, maps, globes, and hundreds of books. To become a proper king, Arthur must learn how to use such information to others’ advantage, not just his own. As Caroline Buts and Jose Luis Buendia Sierra observe of magic’s paradox, “using the wand without knowing properly the rules may sometimes lead to catastrophic situations” (509). This point is reaffirmed in the film’s final sequence, which takes place in London on New Year’s Day at a jousting tournament, the winner of which will be crowned king of England. Arthur, now a squire to his recently knighted stepbrother, forgets to bring his stepbrother’s sword to the tournament grounds. He attempts to replace the missing weapon with the sword in the stone when he spots the aging relic in a nearby churchyard. As Arthur pulls out the sword, angelic choral music swells, signalling that the rightful ruler of England has fulfilled the prophecy. After some scepticism from the assembled masses, Sir Ector and the other knights and spectators bow to the befuddled twelve-year-old. The film’s final scene shows a panic-stricken Arthur conceding that he does not know how to rule England and crying out for Merlin. When the wizard blows in from his most recent trip to the twentieth century, he confirms that he has known all along who Arthur is and assures the boy that he will become a great king. Arthur seems ready to put in the work, recognising that his knowledge and wisdom will improve the lives of England’s inhabitants. Conclusion Magic is thus portrayed as an intervening force that either facilitates or stymies societal progress. Good magic ensures that intelligent, educated individuals such as Arthur become great leaders, while those who would attain positions of power through brute force are thwarted from doing so. At the film’s conclusion, Arthur has not been fully transformed into a great leader because his education is far from finished; he has only learned enough to realise that he knows too little to rule effectively. Yet, from the Socratic perspective, such self-awareness is the germination for attaining true wisdom (Tarrant 263). Arthur also already knows that he will not be able to learn how to rule well through trickery or shortcuts, even with a powerful magician by his side. But the film’s closing scene reiterates this point with Merlin promising Arthur that he will succeed. “Why, they might even make a motion picture about you!” he exclaims in a clever fourth-wall joke (Gellner 120). The Sword in the Stone’s mere existence proves that Arthur will acquire the knowledge and wisdom necessary to become a truly great monarch. The fledgling pupil will live long and rule well, not because of pixie dust or magic spells, but because of his willingness to learn and to be transformed by his education into a wise and fair ruler. References Aronstein, Susan. “‘Higitus Figitus!’ Of Merlin and Disney Magic.” It’s the Disney Version! Popular Cinema and Literary Classics. Eds. Douglas Brode and Shea T. Brode. Lanham, MD: Rowman & Littlefield. 129-139. Beck, Jerry. The Animated Movie Guide. Chicago: A Capella, 2005. Booker, M. Keith. Disney, Pixar, and the Hidden Messages of Children's Films. Santa Barbara: ABC-CLIO, 2010. Buts, Caroline, and Jose Luis Buendia Sierra. “The Sword in the Stone.” European State Aid Law Quarterly 16.4 (2017): 509-511. 10 June 2023 <https://www.jstor.org/stable/10.2307/26694185>. DeBold, Elizabeth. “Fortune’s Fools: Early Tarot Cards.” The Collation: Folger Shakespeare Library 2 Feb. 2021. 5 June 2023 <https://www.folger.edu/blogs/collation/fortunes-fools-early-tarot-cards/>. “Disney History.” D23, 2023. <https://d23.com/disney-history/>. Gossedge, Rob. “The Sword in the Stone: American Translatio and Disney’s Antimedievalism.” The Disney Middle Ages: A Fairy-Tale and Fantasy Past. Eds. Tison Pugh and Susan Aronstein. Palgrave Macmillan: 2012. 115–131. Grellner, Alice. “Two Films That Sparkle: The Sword in the Stone and Camelot.” Cinema Arthuriana: Twenty Essays. Rev. ed. Ed. Kevin J. Harty. Jefferson, NC: McFarland, 2010. 118-126. Holcomb, Jeanne, Kenzie Latham, and Daniel Fernandez-Baca. “Who Cares for the Kids? Caregiving and Parenting in Disney Films.” Journal of Family Issues 36.14 (2015): 1957–81. DOI: 10.1177/0192513X13511250. Lester, David. “Measuring Maslow’s Hierarchy of Needs.” Psychological Reports: Mental & Physical Health 113.1 (2013): 15-17. 20 May 2023 <https://doi.org/10.2466/02.20.PR0.113x16z1>. Perciaccante, Antonio, and Alessia Coralli. “The Virus Defeating Madam Mim.” American Journal of Infection Control 45.10 (2017): 1171. 1 June 2023 <http://doi.org/10.1016/j.ajic.2017.07.017>. Pinsky, Mark I. The Gospel According to Disney: Faith, Trust, and Pixie Dust. Louisville, KY: Westminster John Knox Press, 2004. The Sword in the Stone. Dir. Wolfgang Reitherman. Perf. Karl Swenson and Rickie Sorensen. Buena Vista, 1963. Tarrant, Harold. “Socratic Method and Socratic Truth.” A Companion to Socrates. Eds. Sara Ahbel-Rappe and Rachana Kamtekar. Malden, MA: Blackwell, 2006. 254-272. Valle, Maria Luiza Cyrino. "The New Matter of Britain: T.H. White's The Sword in the Stone." Estudos Germânicos 5.1 (1984): 224-265.

Introduction It is very common for children’s films to adapt, rework, or otherwise re-imagine existing cultural material. Such re-imaginings are potential candidates for fidelity criticism: a mode of analysis whereby an adaptation is judged according to its degree of faithfulness to the source text. Indeed, it is interesting that while fidelity criticism is now considered outdated and problematic by adaptation theorists (see Stam; Leitch; and Whelehan) the issue of fidelity has tended to linger in the discussions that form around material adapted for children. In particular, it is often assumed that the re-imagining of cultural material for children will involve a process of “dumbing down” that strips the original text of its complexity so that it is more easily consumed by young audiences (see Semenza; Kellogg; Hastings; and Napolitano). This is especially the case when children’s films draw from texts—or genres—that are specifically associated with an adult readership. This paper explores such an interplay between children’s and adult’s culture with reference to the re-imagining of the horror genre in children’s animated film. Recent years have seen an inrush of animated films that play with horror tropes, conventions, and characters. These include Frankenweenie (2012), ParaNorman (2012), Hotel Transylvania (2012), Igor (2008), Monsters Inc. (2001), Monster House (2006), and Monsters vs Aliens (2009). Often diminishingly referred to as “kiddie horror” or “goth lite”, this re-imagining of the horror genre is connected to broader shifts in children’s culture, literature, and media. Anna Jackson, Karen Coats, and Roderick McGillis, for instance, have written about the mainstreaming of the Gothic in children’s literature after centuries of “suppression” (2); a glance at the titles in a children’s book store, they tell us, may suggest that “fear or the pretence of fear has become a dominant mode of enjoyment in literature for young people” (1). At the same time, as Lisa Hopkins has pointed out, media products with dark, supernatural, or Gothic elements are increasingly being marketed to children, either directly or through product tie-ins such as toys or branded food items (116-17). The re-imagining of horror for children demands our attention for a number of reasons. First, it raises questions about the commercialisation and repackaging of material that has traditionally been considered “high culture”, particularly when the films in question are seen to pilfer from sites of the literary Gothic such as Mary Shelley’s Frankenstein (1818) or Bram Stoker’s Dracula (1897). The classic horror films of the 1930s such as James Whale’s Frankenstein (1931) also have their own canonical status within the genre, and are objects of reverence for horror fans and film scholars alike. Moreover, aficionados of the genre have been known to object vehemently to any perceived simplification or dumbing down of horror conventions in order to address a non-horror audience. As Lisa Bode has demonstrated, such objections were articulated in many reviews of the film Twilight, in which the repackaging and simplifying of vampire mythology was seen to pander to a female, teenage or “tween” audience (710-11). Second, the re-imagining of horror for children raises questions about whether the genre is an appropriate source of pleasure and entertainment for young audiences. Horror has traditionally been understood as problematic and damaging even for adult viewers: Mark Jancovich, for instance, writes of the long-standing assumption that horror “is moronic, sick and worrying; that any person who derives pleasure from the genre is moronic, sick and potentially dangerous” and that both the genre and its fans are “deviant” (18). Consequently, discussions about the relationship between children and horror have tended to emphasise regulation, restriction, censorship, effect, and “the dangers of imitative violence” (Buckingham 95). As Paul Wells observes, there is a “consistent concern […] that horror films are harmful to children, but clearly these films are not made for children, and the responsibility for who views them lies with adult authority figures who determine how and when horror films are seen” (24). Previous academic work on the child as horror viewer has tended to focus on children as consumers of horror material designed for adults. Joanne Cantor’s extensive work in this area has indicated that fright reactions to horror media are commonly reported and can be long-lived (Cantor; and Cantor and Oliver). Elsewhere, the work of Sarah Smith (45-76) and David Buckingham (95-138) has indicated that children, like adults, can gain certain pleasures from the genre; it has also indicated that children can be quite media savvy when viewing horror, and can operate effectively as self-censors. However, little work has yet been conducted on whether (and how) the horror genre might be transformed for child viewers. With this in mind, I explore here the re-imagining of horror in two children’s animated films: Frankenweenie and ParaNorman. I will consider the way horror tropes, narratives, conventions, and characters have been reshaped in each film with a child’s perspective in mind. This, I argue, does not make them simplified texts or unsuitable objects of pleasure for adults; instead, the films demonstrate that the act of re-imagining horror for children calls into question long-held assumptions about pleasure, taste, and the boundaries between “adult” and “child”. Frankenweenie and ParaNorman: Rewriting the Myth of Childhood Innocence Frankenweenie is a stop-motion animation written by John August and directed by Tim Burton, based on a live-action short film made by Burton in 1984. As its name suggests, Frankenweenie re-imagines Shelley’s Frankenstein by transforming the relationship between creator and monster into that between child and pet. Burton’s Victor Frankenstein is a young boy living in a small American town, a creative loner who enjoys making monster movies. When his beloved dog Sparky is killed in a car accident, young Victor—like his predecessor in Shelley’s novel—is driven by the awfulness of this encounter with death to discover the “mysteries of creation” (Shelley 38): he digs up Sparky’s body, drags the corpse back to the family home, and reanimates him in the attic. This coming-to-life sequence is both a re-imagining of the famous animation scene in Whale’s film Frankenstein and a tender expression of the love between a boy and his dog. The re-imagined creation scene therefore becomes a site of negotiation between adult and child audiences: adult viewers familiar with Whale’s adaptation and its sense of electric spectacle are invited to rethink this scene from a child’s perspective, while child viewers are given access to a key moment from the horror canon. While this blurring of the lines between child and adult is a common theme in Burton’s work—many of his films exist in a liminal space where a certain childlike sensibility mingles with a more adult-centric dark humour—Frankenweenie is unique in that it actively re-imagines as “childlike” a film and/or work of literature that was previously populated by adult characters and associated with adult audiences. ParaNorman is the second major film from the animation studio Laika Entertainment. Following in the footsteps of the earlier Laika film Coraline (2009)—and paving the way for the studio’s 2014 release, Boxtrolls—ParaNorman features stop-motion animation, twisted storylines, and the exploration of dark themes and spaces by child characters. The film tells the story of Norman, an eleven year old boy who can see and communicate with the dead. This gift marks him as an outcast in the small town of Blithe Hollow, which has built its identity on the historic trial and hanging of an “evil” child witch. Norman must grapple with the town’s troubled past and calm the spirit of the vengeful witch; along the way, he and an odd assortment of children battle zombies and townsfolk alike, the latter appearing more monstrous than the former as the film progresses. Although ParaNorman does not position itself as an adaptation of a specific horror text, as does Frankenweenie, it shares with Burton’s film a playful intertextuality whereby references are constantly made to iconic films in the horror genre (including Halloween [1978], Friday the 13th [1980], and Day of the Dead [1985]). Both films were released in 2012 to critical acclaim. Interestingly, though, film critics seemed to disagree over who these texts were actually “for.” Some reviewers described the films as children’s texts, and warned that adults would likely find them “tame and compromised” (Scott), “toothless” (McCarthy) or “sentimental” (Bradshaw). These comments carry connotations of simplification: the suggestion is that the conventions and tropes of the horror genre have been weakened (or even contaminated) by the association with child audiences, and that consequently adults cannot (or should not) take pleasure in the films. Other reviewers of ParaNorman and Frankenweenie suggested that adults were more likely to enjoy the films than children (O’Connell; Berardinelli; and Wolgamott). Often, this suggestion came together with a warning about scary or dark content: the films were deemed to be too frightening for young children, and this exclusion of the child audience allowed the reviewer to acknowledge his or her own enjoyment of and investment in the film (and the potential enjoyment of other adult viewers). Lou Lumenick, for instance, peppers his review of ParaNorman with language that indicates his own pleasure (“probably the year’s most visually dazzling movie so far”; the climax is “too good to spoil”; the humour is “deliciously twisted”), while warning that children as old as eight should not be taken to see the film. Similarly, Christy Lemire warns that certain elements of Frankenweenie are scary and that “this is not really a movie for little kids”; she goes on to add that this scariness “is precisely what makes ‘Frankenweenie’ such a consistent wonder to watch for the rest of us” (emphasis added). In both these cases a line is drawn between child and adult viewers, and arguably it is the film’s straying into the illicit area of horror from the confines of a children’s text that renders it an object of pleasure for the adult viewer. The thrill of being scared is also interpreted here as a specifically adult pleasure. This need on the part of critics to establish boundaries between child and adult viewerships is interesting given that the films themselves strive to incorporate children (as characters and as viewers) into the horror space. In particular, both films work hard to dismantle the myths of childhood innocence—and associated ideas about pleasure and taste—that have previously seen children excluded from the culture of the horror film. Both the young protagonists, for instance, are depicted as media-literate consumers or makers of horror material. Victor is initially seen exhibiting one of his home-made monster movies to his bemused parents, and we first encounter Norman watching a zombie film with his (dead) grandmother; clearly a consummate horror viewer, Norman decodes the film for Grandma, explaining that the zombie is eating the woman’s head because, “that’s what they do.” In this way, the myth of childhood innocence is rewritten: the child’s mature engagement with the horror genre gives him agency, which is linked to his active position in the narrative (both Norman and Victor literally save their towns from destruction); the parents, meanwhile, are reduced to babbling stereotypes who worry that their sons will “turn out weird” (Frankenweenie) or wonder why they “can’t be like other kids” (ParaNorman). The films also rewrite the myth of childhood innocence by depicting Victor and Norman as children with dark, difficult lives. Importantly, each boy has encountered death and, for each, his parents have failed to effectively guide him through the experience. In Frankenweenie Victor is grief-stricken when Sparky dies, yet his parents can offer little more than platitudes to quell the pain of loss. “When you lose someone you love they never really leave you,” Victor’s mother intones, “they just move into a special place in your heart,” to which Victor replies “I don’t want him in my heart—I want him here with me!” The death of Norman’s grandmother is similarly dismissed by his mother in ParaNorman. “I know you and Grandma were very close,” she says, “but we all have to move on. Grandma’s in a better place now.” Norman objects: “No she’s not, she’s in the living room!” In both scenes, the literal-minded but intelligent child seems to understand death, loss, and grief while the parents are unable to speak about these “mature” concepts in a meaningful way. The films are also reminders that a child’s first experience of death can come very young, and often occurs via the loss of an elderly relative or a beloved pet. Death, Play, and the Monster In both films, therefore, the audience is invited to think about death. Consequently, there is a sense in each film that while the violent and sexual content of most horror texts has been stripped away, the dark centre of the horror genre remains. As Paul Wells reminds us, horror “is predominantly concerned with the fear of death, the multiple ways in which it can occur, and the untimely nature of its occurrence” (10). Certainly, the horror texts which Frankenweenie and ParaNorman re-imagine are specifically concerned with death and mortality. The various adaptations of Frankenstein that are referenced in Frankenweenie and the zombie films to which ParaNorman pays homage all deploy “the monster” as a figure who defies easy categorisation as living or dead. The othering of this figure in the traditional horror narrative allows him/her/it to both subvert and confirm cultural ideas about life, death, and human status: for monsters, as Elaine Graham notes, have long been deployed in popular culture as figures who “mark the fault-lines” and also “signal the fragility” of boundary structures, including the boundary between human and not human, and that between life and death (12). Frankenweenie’s Sparky, as an iteration of the Frankenstein monster, clearly fits this description: he is neither living nor dead, and his monstrosity emerges not from any act of violence or from physical deformity (he remains, throughout the film, a cute and lovable dog, albeit with bolts fixed to his neck) but from his boundary-crossing status. However, while most versions of the Frankenstein monster are deliberately positioned to confront ideas about the human/machine boundary and to perform notions of the posthuman, such concerns are sidelined in Frankenweenie. Instead, the emphasis is on concerns that are likely to resonate with children: Sparky is a reminder of the human preoccupation with death, loss, and the question of why (or whether, or when) we should abide by the laws of nature. Arguably, this indicates a re-imagining of the Frankenstein tale not only for child audiences but from a child’s perspective. In ParaNorman, similarly, the zombie–often read as an articulation of adult anxieties about war, apocalypse, terrorism, and the deterioration of social order (Platts 551-55)—is re-used and re-imagined in a childlike way. From a child’s perspective, the zombie may represent the horrific truth of mortality and/or the troublesome desire to live forever that emerges once this truth has been confronted. More specifically, the notion of dealing meaningfully with the past and of honouring rather than silencing the dead is a strong thematic undercurrent in ParaNorman, and in this sense the zombies are important figures who dramatise the connections between past and present. While this past/present connection is explored on many levels in ParaNorman—including the level of a town grappling with its dark history—it is Norman and his grandmother who take centre stage: the boundary-crossing figure of the zombie is re-realised here in terms of a negotiation with a presence that is now absent (the elderly relative who has died but is still remembered). Indeed, the zombies in this film are an implicit rebuke to Norman’s mother and her command that Norman “move on” after his grandmother’s death. The dead are still present, this film playfully reminds us, and therefore “moving on” is an overly simplistic and somewhat disrespectful response (especially when imposed on children by adult authority figures.) If the horror narrative is built around the notion that “normality is threatened by the Monster”, as Robin Wood has famously suggested, ParaNorman and Frankenweenie re-imagine this narrative of subversion from a child’s perspective (31). Both films open up a space within which the child is permitted to negotiate with the destabilising figure of the monster; the normality that is “threatened” here is the adult notion of the finality of death and, relatedly, the assumption that death is not a suitable subject for children to think or talk about. Breaking down such understandings, Frankenweenie and ParaNorman strive not so much to play with death (a phrase that implies a certain callousness, a problematic disregard for human life) but to explore death through the darkness of play. This is beautifully imaged in a scene from ParaNorman in which Norman and his friend Neil play with the ghost of Neil’s recently deceased dog. “We’re going to play with a dead dog in the garden,” Neil enthusiastically announces to his brother, “and we’re not even going to have to dig him up first!” Somewhat similarly, film critic Richard Corliss notes in his review of Frankenweenie that the film’s “message to the young” is that “children should play with dead things.” Through this intersection between “death” and “play”, both films propose a particularly child-like (although not necessarily child-ish) way of negotiating horror’s dark territory. Conclusion Animated film has always been an ambiguous space in terms of age, pleasure, and viewership. As film critic Margaret Pomeranz has observed, “there is this perception that if it’s an animated film then you can take the little littlies” (Pomeranz and Stratton). Animation itself is often a signifier of safety, fun, nostalgia, and childishness; it is a means of addressing families and young audiences. Yet at the same time, the fantastic and transformative aspects of animation can be powerful tools for telling stories that are dark, surprising, or somehow subversive. It is therefore interesting that the trend towards re-imagining horror for children that this paper has identified is unfolding within the animated space. It is beyond the scope of this paper to fully consider what animation as a medium brings to this re-imagining process. However, it is worth noting that the distinctive stop-motion style used in both films works to position them as alternatives to Disney products (for although Frankenweenie was released under the Disney banner, it is visually distinct from most of Disney’s animated ventures). The majority of Disney films are adaptations or re-imaginings of some sort, yet these re-imaginings look to fairytales or children’s literature for their source material. In contrast, as this paper has demonstrated, Frankenweenie and ParaNorman open up a space for boundary play: they give children access to tropes, narratives, and characters that are specifically associated with adult viewers, and they invite adults to see these tropes, narratives, and characters from a child’s perspective. Ultimately, it is difficult to determine the success of this re-imagining process: what, indeed, does a successful re-imagining of horror for children look like, and who might be permitted to take pleasure from it? 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