Walt Disney Feature Animation Florida opened in Orlando at the dawn
of the Disney Renaissance. As a member of the crew, Mary E. Lescher
witnessed the small studio's rise and fall during a ...transformative
era in company and movie history. Her in-depth interviews with
fellow artists, administrators, and support personnel reveal the
human dimension of a technological revolution: the dramatic shift
from hand-drawn cel animation to the digital format that eclipsed
it in less than a decade. She also traces the Florida Studio's
parallel existence as a part of The Magic of Disney Animation, a
living theme park attraction where Lescher and her colleagues
worked in full view of Walt Disney World guests eager to experience
the magic of the company's legendary animation process.
A ground-level look at the entertainment giant, The Disney
Animation Renaissance profiles the people and purpose behind a
little-known studio during a historic era.
With the continuous development of the new media era, the Japanese animation industry has encountered some problems and bottlenecks on the road to development. This paper mainly uses the research ...methods of case analysis and literature research to study it. According to some relevant theories of business strategy, combined with the analysis of the current situation of the Japanese animation industry, taking Shueisha as an example, it analyzes the emergence of commercial strategies in the entire Japanese animation industry. The problems and causes, and then put forward optimization suggestions for the existing problems one by one to promote the rapid development of the Japanese animation industry, such as taking various measures to reduce the pressure on the Japanese animation industry from labor issues; expand marketing in overseas markets; pursue the development of content. This study also summarizes the contribution and deficiencies of this article to the Japanese animation industry, and the research offers reflections and prospects.
Le monde académique porte une attention particulière sur les enjeux économiques et sociaux associés à l’entrepreneuriat féminin. C’est le cas de l’Afrique où la figure de la femme constitue un pilier ...de développement, et où l’on assiste depuis quelques années à la création de réseaux de mampreneurs. L’objectif de cet article est de mettre au jour les modalités d’accompagnement du réseau d’affaires pour les mampreneurs, ainsi que leurs apports, en contexte africain. Il s’appuie sur l’étude de cas d’un réseau de 75 mampreneurs établi en Côte d’Ivoire. Nos résultats montrent que le réseau favorise un accompagnement psychologique, professionnel et familial, dont les modalités d’animation sont affective, cognitive et conative. Sont également identifiées des retombées d’ordre moral, identitaire, transgénérationnel et thérapeutique.
Este artículo tiene como objetivo la narración de las motivaciones, proceso y resultados de Encuentros en el jardín, residencia artística en la que participaron mujeres con discapacidad intelectual o ...del desarrollo de la Fundación Alas Madrid1 coordinadas por la artista que Arma estas líneas. Este proyecto fue uno de los 4 seleccionados en la edición de 2020 del programa Espacios Convergentes2, iniciativa lanzada en el marco del proyecto Más cultura, Más inclusión3, financiada por Plena Inclusión Madrid4 y la Fundación Repsol5. La residencia, desarrollada entre octubre de 2020 y junio de 2021, se centró en un trabajo multisensorial realizado a partir de la naturaleza del jardín de la Fundación Alas, utilizando técnicas variadas como el dibujo, grabado, manipulación de objetos y efecto del azar, la escucha y experimentación sonora, enfocadas a la realización de píldoras animadas. El trabajo culminó con el montaje y presentación de una pieza Anal de animación y una exposición de una muestra del trabajo desarrollado. Encuentros en el jardín puede entenderse como un viaje multisensorial colectivo en el que se ha trabajado sobre el movimiento de la vida reflejado en el jardín, utilizando la repetición. Movimiento, cambio y metamorfosis son ubicuos y nos constituyen; hemos, entre todas, dado vida y visibilizado ese cambio, que a su vez nos visibiliza: hemos animado.
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com Coraline (Henry Selick, 2009) is stop-motion studio LAIKA’s ...feature-length debut based on the popular children’s novel by British author Neil Gaiman. Heralding a revival in global interest in stop-motion animation, the film is both an international cultural phenomenon and a breakthrough moment in the technological evolution of the craft. This collection brings together an international group of practitioners and scholars to examine Coraline’s place in animation history and culture, dissect its politics, and unpack its role in the technological and aesthetic development of its medium. More broadly, it celebrates stop motion as a unique and enduring artform while embracing its capacity to evolve in response to cultural, political, and technological changes, as well as shifting critical and audience demands. Divided into three sections, this volume’s chapters situate Coraline within an interconnected network of historical, industrial, discursive, theoretical, and cultural contexts. They place the film in conversation with the medium’s aesthetic and technological history, broader global intellectual and political traditions, and questions of animation reception and spectatorship. In doing so, they invite recognition - and appreciation - of the fact that Coraline occupies many liminal spaces at once. It straddles the boundary between children’s entertainment and traditional ‘adult’ genres, such as horror and thriller. It complicates a seemingly straight(forward) depiction of normative family life with gestures of queer resistance. Finally, it marks a pivotal point in stop-motion animation’s digital turn. Following the film’s recent tenth anniversary, the time is right to revisit its production history, evaluate its cultural and industry impact, and celebrate its legacy as contemporary stop-motion cinema’s gifted child. As the first book-length academic study of this contemporary animation classic, this volume serves as an authoritative introduction and a primary reference on the film for scholars, students, practitioners, and animation fans.
Google Chrome will stop supporting Flash by the end of 2020. We consider the possibility that this tool, which defined an entire era of web design, will go down in history remembered in negative ...terms like those in Nielsen´s “Flash: 99% bad” and Jobs´ reasons for avoiding this technology on Apple´s mobile devices. We present the information gathered to define an online research designed to answer this question. The query, triggered during Symposium grafica, will use a “snowball” sampling strategy, and will remain active until the deactivation of the plugin on the Google search engine.
Polish animated film Abstract The paper refers to the 55th, 60th and 70th anniversaries of Polish animation, celebrated in 2004, 2007, and 2017, respectively. ...the author proposes a revision of the ...jubilees organized since 2004. ...he attempts to understand the arguments of those film historians who say that the beginning of the Polish animation is, after all, marked by the 1947 premiere of Zenon Wasilewski's puppet film za króla Krakusa (King Krakus). Niech za ilustrację posłuży spór o Humpty Dumpty Circus Jamesa Stuarta Blacktona i Edwarda Alberta Smitha z 1898 r., który uchodził kiedyś za mocnego kandydata na pierwszy film animowany w historii, ale - jak pisał Donald Crafton - najwyraźniej nie przetrwał. Istnieje pokusa, by to Kryterium 3. uznać za jedyne obiektywne i najbardziej sprawiedliwe, ale nawet tu pojawiają się wątpliwości.
This volume brings together scholars based predominantly in Asia to contribute provocative and experimental essays on the dynamic relationship between animation and philosophy. In an inventive and ...playful philosophical way, they address not only the mainstay of Japanese animation, but also Korean film, picture books and Mickey Mouse to understand what we might call film-philosophy in Asia. In thinking animation with concepts from the technicolour philosophies of Deleuze, Guattari, Stiegler, Benjamin, Kristeva and Heidegger, the book sees animation not as a representation of a philosophical idea per se, but conceptualizes it as a philosophical thinking-device. In the images themselves, what is at work is not just the thinking of a particular director or manga artist, but, rather, thinking as such, through and by the images themselves. The scholars in this collection are committed to thinking images themselves as thought-experiments and thinking machines.
Global Animation Theory offers detailed and diverse insights into the methodologies of contemporary animation studies, as well as the topics relevant for today’s study of animation. The contact ...between practical and theoretical approaches to animation at Animafest Scanner, is closely connected to host of this event, the World Festival of Animated Film Animafest Zagreb. It has given way to academic writing that is very open to practical aspects of animation, with several contributors being established not only as animation scholars, but also as artists. This anthology presents, alongside an introduction by the editors and a preface by well known animation scholar Giannalberto Bendazzi, 15 selected essays from the first three Animafest Scanner editions. They explore various significant aspects of animation studies, some of them still unknown to the English speaking communities.
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