This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com Walt Disney’s Snow White and the Seven Dwarfs (David Hand, 1937) ...occupies a central place within the history of global animation. Based on the German fairy tale by the Brothers Grimm, the film was the first feature-length animated film produced by the Disney Studio and served to announce the animated cartoon as an industrial art form. Yet Disney’s landmark version not only set in motion the Golden Age of the Hollywood cartoon, but has continued to stand as an international sensation, prompting multiple revisions and remakes within a variety of national filmmaking contexts. This book explores the enduring qualities that have marked Snow White’s influence and legacy, providing a collection of original chapters that reflect upon its pioneering use of technology and contributions to animation’s visual style, the film’s reception within an American context, and its status as a global cultural phenomenon.
Background:
Dubbing is an interesting translation for movie viewers because viewers do not need to be constrained by reading the subtitling on the monitor. However, with all its limitations dubbing ...is a challenge for a translator. Frozen: Party is over is an intriguing film to investigate.
Methodology:
All utterances of the characters in the film are becoming the research data. The numbers of data were 62 for words, phrases and sentences and analyzed using Molina & Albir's translation theory. The interactive model of Miles and Huberman analyzed all the data.
Findings:
The result of the research is that the translation techniques used by the translator were modulation, established equivalent and literal. The most dominant technique used by the translator was literal. This is because children consume the film, so most of the sentences are simple sentences.
Conclusion:
The translation techniques used by the translator were modulation, established equivalent and literal.
Originality:
This research focused on the dubbing translation technique for the animated film Frozen: Party is over. In comparison, other research with the same object discussed topics such as deixis, language styles, illocutionary act and subtitling.
Given that it was commissioned by channel S4C, with the scripts written by L. Garfield, dialogues recorded by British actors, and production coordinated by D. Edwards, the series Shakespeare: The ...Animated Tales (1992-94) could easily be viewed as a purely British television adaptation of British classics. However, this is a joint project, in which Russian studios Soyuzmultfilm and Christmas Films were responsible for animating the shows. This article therefore explores a “Russian trace” in Shakespeare: The Animated Tales, which reveals itself in both the poetics of each episode (directed by N. Orlova, N. Serebryakov, S. Sokolov, A. Zyablikova, etc.) and the specificity of the production process. It focuses on the interplay of animated images and their counterparts in Soviet film adaptations of Shakespeare. Indeed, M. Muat’s episode adapting Twelfth Night, N. Serebryakov’s adaptation of Othello, and Orlova’s interpretation of Hamlet rework a whole range of motifs inspired by Soviet adaptations (directed by I. Frid, S. Yutkevitch, G. Kosintsev, respectively). The dominant motifs of each episode also represent an imaginative approach taken by Russian animation artists who rewrote British classics through their visual poetics. The directors’ previous work in animation influences not only stylistic but also production choices (animation techniques, teams of production designers, animators, composers). Part of the article therefore focuses on the aspects of production transformed due to the British influence and yet still deeply rooted in the traditional style of work at Soyuzmultfilm (e. g. long production cycles). To explore this production specificity and its influence on poetics (the poetic matter), I interviewed several professionals involved in the project (N. Orlova, N. Dabizha, I. Markozyan, A. Zyablikova).
As mainstream cultural products, it is increasingly recognized that movies can influence the way places are perceived, exploited and materially transformed, particularly in tourism development. The ...relationship between movies and places has been widely explored in geographical research, but the role of animated features is still relatively unexplored. Thanks to its extremely precise geographical connotations, Disney-Pixar's animated film Luca (2021) is an exceptional case study. The film is set in Cinque Terre (Liguria, NW Italy), an area that in the last twenty years has been affected by over tourism phenomena. By examining how the movie has been received by local institutions, residents and tourists, this paper aims to provide new insights into how such products can contribute to create meaning of places and influence local attractiveness. In particular, the paper focusses on Destination Marketing Organisations' reactions to Luca's release and how it was perceived by residents and tourists, by analysing the results of a survey we administered in 2021. The results show the positive impact and potential issues of geographically defined animated films particularly in terms of sense of belonging and authenticity perception amongst insiders and outsiders.
The Romanian director Ion Popescu-Gopo (1923-1989) remained in the history of world cinema as the creator of the Little Man, which became his brand in the field of animation. But his creation is rich ...enough, including not only animated films, but also fiction films. He is the only director, who in the years ‘60-’80 dared to interpret the stories of the classic of our literature Ion Creangă, starting with The Story of Harap Alb (The White Moor, 1965), The Story of the Pig,(The Story of Love, 1976), The Old Man’s Daughter and the Old Woman’s Daughterl (Maria, Mirabela, 1982),The Bag with Two Coins (The Wager, 1984). The director re-reads the writer’s stories from a modern cinematic perspective, experimenting not only with the ideational message, but also with the production techniques, combining the actors’ play with animated images (Maria, Mirabela or The Wager).
Contemporary heroes of animated films are significantly different from their predecessors in terms of their characteristics and in relation to the manifested attitudes. New types of protagonists, ...being an important component of a film story, affect the recipient not only in terms of emotions. The created heroes, complex in terms of character, have a huge potential for cognitive influ-ence. Thanks to the nature of the addressed problems that are close to viewers, it is possible for them to identify themselves with the watched heroes, assimilate with their situation or induce other mechanisms of influence. The characters of contemporary animated films are no longer simple subject entities determined by the main attribute or an allegorical reference. An important aspect is the departure from the presentation of a relatively constant personality in favour of the changes in behaviour and professed values. This fact creates an excellent opportunity to use animated motion picture works as part of educational and therapeutic activities.
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