Disney Animation Research Articles

Head tilt in 6 Ankole-Watusi cattle (Bos taurus ankole) with chronic exudative cornual sinusitis.

Ankole-Watusi cattle, Bos taurus ankole, have a unique wide-based horn structure with a large communication to the frontal sinus compared to other cattle breeds. A total of 6 cases of cornual sinusitis presented at the Toronto Zoo and Disney's Animal Kingdom Lodge® and Disney's Animal Kingdom® Theme Park with a head tilt. Clinically, 4 of the 6 cases had concurrent otitis at the time of initial clinical observation. Medical management was the standard across all cases with limited surgical success in 2 cases. Due to intractable and progressive clinical signs despite treatment attempts, euthanasia and postmortem examinations were performed. All animals had gross and histologic evidence of cornual sinusitis with massive mucoid exudate in either 1 or both horns. Fluid accumulation and sinusitis within the cornual sinus should be considered a differential diagnosis in Ankole-Watusi cattle with a head tilt.

Disney in Black and White: An Analysis of Race Representation Within Disney Animated Films From 1937 to 2021

This study examined Disney studios’ portrayals of race as it relates to the physical, mental, and social characteristics of major characters ( N = 319) within Disney animated films released from 1937 to 2021 ( N = 59). Findings revealed most of the characters featured were portrayed as White (68.3%) whereas BIPOC characters made up 31.7% of the total. Results suggest that BIPOC characters were significantly more likely to be featured in supporting character roles, with White characters featured in both the protagonist and antagonist roles. We further observed a limited integration of characters of varying races in a singular film.

Influence of Walt Disney’s Work on Soviet Cartoons

In the mid-1930s, Walt Disney’s cartoon characters conquered screens all over the world. The Soviet Union was not spared from this fascination. Despite the fact that Soviet animation took its first steps in the mid-1920s and by the time of the Disney craze already had several successful films (e.g., “The Rink”, “The Post Office”, “Black and White”), domestic cartoonists fell under the “Disney hypnosis”. This leads to active borrowing of Disney methods, imitation of the performing manner, copying characters. At the newly established studio “Soyuzmultfilm” with the approval of high film bosses begins work on the creation of “his Soviet Mickey Mouse”. For the basis of cartoon production take the flow method – conveyor, which allows, thanks to the use of celluloid sheets instead of paper, accelerate the production of cartoons. This method of creating cartoon pictures divides artists into supporters and opponents of Disney methods. Some of the opponents are leaving the profession, believing that the conveyor belt method would turn the art of animation into a craft.However, even uncompromising supporters of Disney animation quickly realize that direct copying of the great master’s tapes leads domestic animation to a dead end, as it becomes obvious that Disney’s tricks, techniques and images cannot be adapted to traditional stories: folk tales, fables. In addition, in the second half of the 1930s, the USSR changed its cultural policy. All this leads to the struggle against “Disney” and the search for their own unique style of Soviet animation.The article analyses the memoirs of cartoonists N.P. Khodataev, I.P. Ivanov-Vano, A.V. Ivanov, F.S. Khitruk and others, their perception of Disney’s work, their attitude to the borrowing of the master’s creative methods, as well as the experience of creating their own works using Disney technologies.

The Disney animation renaissance: Behind the glass at the Florida studio By Mary E.Lescher, University of Illinois Press. 2023

The Disney animation renaissance: Behind the glass at the Florida studio By Mary E.Lescher, University of Illinois Press. 2023

A Study of How Disney Animated and Non-Animated Movie on Students’ Vocabulary Mastery: Insights From Students' Perception

Vocabulary is an important thing for every student in learning English. To improve vocabulary mastery, there are several media that can be used, one of which is animated and non-animated Disney movies. This study aims to explore in-depth information on how students’ perception on the use of Disney's animated and non-animated movies in the context of improving their vocabulary mastery. To collect the data researcher involved two main methods used a modified questionnaire and semi-structured interviews with qualitative approach. The data was analyzed through two different ways using content analysis to analyze the questionnaire and qualitative interpretation from interviews with the participants. The results of this study revealed that both types of Disney movies have a positive impact on improving students' vocabulary acquisition. Furthermore, this study provides a foundation for the development of more inclusive teaching strategies.

A Visual Analysis of Male Characters in Disney Animated Movies

This study investigates the visual features of male characters of nine Disney animated movies taken from the last three decades 1990-1999, 2000-2009 and 2010-2019. Aley and Hahn’s (2020) framework of men’s portrayal (developed from Goffman, 1976) is applied. The qualitative analysis reveals that the physical appearance of Disney male characters has changed over time. Body image changed from an unrealistic large body with big muscles to a realistic body type with logical body proportions. Heroes started to be seen as powerful gentlemen rather than heroes with physical strength. Moreover, the heroes, especially in third decade, no longer depended on their physical attire to reflect their ranks. This shift may indicate a change of how people tend to see heroes. In term of masculine touch, male characters used to touch their female companions in a controlling manner. However, in the second and third decade, their touch started to change to protection rather than control. Finally, eye withdrawal remained the same over time because men withdrew their eyes for reasons connected to man’s nature and feelings.

A content analysis of the frequency of fat talk in Walt Disney animation films (1937–2021)

PurposePrevious research demonstrates a consistent association between the media and body and eating related issues in children. Recent research has highlighted a role for “fat talk” to describe discourses around body size and food. One key source of media information is Disney animation films, yet to date no research study has explored the verbal content of this genre.Design/methodology/approachThe present study used a content analysis to examine fat talk in Disney animation films (1937–2021; n = 53) with a focus on the frequency of fat talk, changes over time and differences between the genders and heroic statuses of the givers and receivers of fat talk. Fat talk was defined as relating to both body size and food and could be either positive or negative.FindingsResults revealed that there was more negative than positive fat talk per film; no significant changes over time; males were the givers of significantly more positive and negative fat talk than females and were also the receivers of more negative fat talk; good characters were the givers and receivers of more positive and negative fat talk and more self-directed negative fat talk than bad characters.Practical implicationsThe results are discussed in terms of possible legislation and parenting interventions to minimise the harm of this genre on young children.Originality/valueDisney animation films may not be as benign as often thought.

An Analysis of Almost There from the Disney animation The Princess and the Frog

This paper analyzes the song Almost There from the film The Princess and the Frog. Four aspects will be taken into consideration: the plot, the music, the dance and the stage art. The author will focus on the integration of jazz and symphonic musical elements in this song discuss why the combination of jazz and symphonic musical elements can achieve a better experience for the audience.

디즈니 애니메이션의 젠더 표상에 따른 사회적 정체성 분석: 모아나, 겨울왕국2, 라야와 마지막 드래곤 여성 캐릭터를 중심으로

디즈니 애니메이션의 젠더 표상에 따른 사회적 정체성 분석: 모아나, 겨울왕국2, 라야와 마지막 드래곤 여성 캐릭터를 중심으로

The gendered behaviors displayed by Disney protagonists.

Previous research suggests that the portrayal of male and female protagonists in Disney animations may be changing over time. The current study examined the portrayal of gendered behaviors displayed within some of Disney's most successful animated feature length films, including those beyond the Disney princess franchise. Extending the scope of the Disney animated films analyzed was important because both young girls and young boys report little personal interest in male characters within the Disney princess animations. This suggests that it is important to look beyond the Disney princess franchise to understand the gendered behaviors displayed by potentially influential male Disney protagonists. The current study also considered a greater number of masculine and feminine behaviors as well as some gender-neutral traits which had yet to be incorporated. A quantitative content analysis of 39 Disney protagonists from films released between 1937 and 2021 was conducted. The results revealed that male and female protagonists were statistically higher in feminine than masculine traits. Female protagonists from the earliest animations were the most feminine. However, there was no statistical difference in the gendered portrayals of females in the animations released in the 1990s and those released from 2009 to 2021 suggesting some continued stereotyping in females' profiles. Alternatively, male characters were more feminine relatively consistently across time-points. This study concludes that Disney is persistently portraying stereotyped female protagonists, and this could have implications on young females' behavioral profiles. However, the extent to which feminine traits are being celebrated when displayed by male protagonists needs to be examined, as well as the potential relationship between such messages and boys' behaviors and children's conceptualizations of gender more broadly.

Stereoscopic Image Enabled Animation Art Design Exploration

Abstract With the emergence of movie art, many related art forms were born. Animation art has gained a large number of audiences due to its exaggerated expression. In order to improve the problems of character image overlapping and scene distortion that may occur in the original two-dimensional space, this paper constructs a semi-global stereo image matching algorithm based on the use of point cloud matching in the animation screen for the determination of the screen position and the morphology of the animated character. To compensate for the radiation difference in the stereo image matching algorithm, object-square geometric constraints are proposed to improve the matching cost calculation process. After calculating the matching cost, the original animation model is optimized or rebuilt by creating a depth space image. Taking Disney animation characters as an example, the number of joints required for the reconstruction of the “Snow White” character is 2.9 times more than that of the “Mickey” character, but the reconstruction time of the skeleton is only 12 times longer than that of the “Mickey” character. However, the skeleton reconstruction time is only 12.1 seconds longer than that of the “Mickey” character, which indicates that the algorithm proposed in this paper does not produce a large difference in reconstruction time due to the difference in characters. For the construction of animated indoor scenes, in the eight experimental scenes, the maximum number of grids can be divided into 42365412, and the processing time required is 276.413 seconds. It shows that the algorithm in this paper is capable of subregionally refining the indoor space of the animation. The proposed semi-global stereo image matching-based pan can quickly reconstruct animated character models and animated scenes, as can be seen.

Speech Act in Disney Animation The Boss Baby: Family Business by Michael McCullers

Speech Act in Disney Animation The Boss Baby: Family Business by Michael McCullers

Research on the Brand Marketing Strategy of Disney Animation Films

Research on the Brand Marketing Strategy of Disney Animation Films

Visitor engagement with zoo staff and interpretive demonstrations increases visitor stay time in two free-flight aviaries.

Understanding how visitors spend time in zoo exhibits is important as zoological facilities work to enhance visitor experience and conservation education outcomes. We explored a variety of factors we hypothesized would influence visitor stay times in two aviaries at Disney's Animal Kingdom®. Within these aviaries, visitors could utilize educational materials, listen to staff-led demonstrations, or talks, view animal training sessions, or speak directly with animal care or education staff. We observed visitors and recorded the opportunities they utilized in the exhibit. Visitors to either aviary who conversed with exhibit-specific staff stayed between 67% and 89% longer than visitors who did not. In addition, visitors who used a bird guide while in either aviary stayed between 59% and 82% longer than those who did not. Those who listened to an animal care talk or engaged with a staff-led demonstration stayed between 50% and 68% longer than those who did not have the option to participate in such activities. This study provides insight into how exhibit offerings can influence visitor behavior. Implementing strategies used in this study to increase visitors' time in an exhibit may enhance visitor experience and improve learning outcomes.

"Hand-drawn +3D" Disney Animation Film Artistic Adherence and Technological Innovation

Throughout the long development of Disney's animated films for more than half a century, after experiencing the brilliance of the "hand-drawn animation era" and the downturn and hesitation of the "3D animation era", Disney opened up a new era of animated films with the new "3D+ hand-drawn" technology. Its breakthrough in production technology and the inheritance of animation art make it represent the highest level of today's animated films. This paper will try to explore the technical breakthrough and artistic inheritance of Disney's animated films through the brief tracing of Disney's animation production tradition, taking Frozen and Zootopia as examples.

ELEVATED LEADERS EMPLOY ELEVATED SYSTEMS THAT ELEVATE THEIR ORGANIZATIONS

AbstractThe author, a leadership development consultant and professor, discusses the concept of “elevated leadership.” His case study is that of Alan Mulally, former Chief Executive Officer (CEO) of Ford as well as Boeing Commercial Airlines. He also points to other elevated leaders, such as Satya Nadella at Microsoft, Mary Barra at General Motors, and Ed Catmull at Pixar and Disney Animation. The author’s explanation of the concept: “Leaders who are more elevated have a greater ability to effectively navigate their tumultuous environments and ensure long‐term success of their teams and organizations, because they employ elevated systems that ultimately elevate their organization.” His Table 1 shows executives at three different levels of adult development: Level 1 (Good Soldiers, 7%), Level 2 (Progress Makers, 85%), and Level 3 (Value Creators, 8%). As a contrast, 64% of all adults fall into the Good Soldiers category. He describes Mulally’s Working Together Leadership and Management System as comprised of five core elements: Governance, Leadership Team, Principles and Practices, Creating Value Roadmap, and Business Plan Review. Benefits of the latter included that it “engendered clarity and focus – It ensured that all leadership team members were clear on and united in the vision, strategy, and plan for moving forward and knew the areas that needed special attention.”

The Stalinist Soviet Union in the Disney Animated Cartoon Tale Spin

Abstract The Disney animated cartoon television series TaleSpin was released in 1990, at the end of a decade that started with an escalation of the Cold War between the United States and the Soviet Union, and ended in the abolition of nuclear weapons, which foreshadowed the eventual downfall of the USSR in 1991. This “adventure-plus comedy” American series successfully combines sources not only from within the studio (the 1967 Disney animated version of The Jungle Book), but also from adventure films outside the studio (Casablanca, Indiana Jones movies), and most interestingly, it weaves in a harsh parody of Stalinist Soviet Union. TaleSpin effectively captures the complex political climate of the 1980s–1990s by presenting the conditions of high Stalinism (mass repressions, executions, and show trials) in the military state Thembria with her Thembrian inhabitants, the anthropomorphic warthogs. The essay explores the characteristic topoi of Stalin’s Soviet Union in the series with an overview of US–Soviet relationship and the general perception of the USSR in the United States in the 1980s. The essay argues that the American image of the USSR established in the 1930s–1950s was extrapolated to post-Stalinist periods of Soviet history and was still prevalent in the 1980s, thus shaping the conception of Thembria and the Thembrians. (ÁLK)

Representasi Visual Budaya Kolombia Pada Film Animasi “Encanto”

This study analyzes the system of signs and meanings of Colombian culture in the animated film "Encanto" from Disney Animation. The film takes inspiration from Latin American culture, specifically Colombia, focusing on the Madrigal family who have magical powers and live in a hidden village. A qualitative approach with descriptive-interpretative methods is used with content analysis, based on Charles Sander Pierce's semiotic concept which includes icons, indexes, and symbols. Data obtained through observation and literature study. The results of the study show that elements of Colombian culture, such as language, clothing, food, and traditions, are reflected in film characters and scenes. Examples of representation include the Arepa dining area, Cali salsa dancing, Colombian music, and Colombian-style mountain scenery. Thus, Encanto succeeded in communicating Colombian cultural messages through visual cues in the animated film.

Subtitling Strategies Used in Translating Cultural Words in The Subtitle of Disney Animation Movie: Coco

The study aims to identify the subtitling strategies used in translating cultural words in the subtitle of Disney Animation Movie: Coco. This descriptive qualitative study employed the data in words, sentences, and logical arguments related to the topic. The data were English combined with Spanish subtitle as the source language and Indonesian subtitles as the target language. The theories used in the analyzing process and describing the analysis were the classification of cultural words by Newmark (1988:94-103) and the subtitling strategies based on Gottlieb's theory (1992:66). There were 100 cultural words found in the subtitles, which were divided into five classifications of cultural words, namely: Ecology (26%), Material Culture (22%), Social Culture (20%), Gesture and Habit (18%) and also Organization (14%). On the other hand, after the researcher grouped the cultural words, then the words were analyzed using the subtitling strategies theory of Gottlieb (1992), in which the subtitling strategies were divided into ten types: Transfer (41%), Imitation (14%), Transcription (14%), Paraphrase (7%), Expansion (7%), Deletion (4%), Condensation (3%), Dislocation (3%), Decimation (2%), and Resignation (2%). The dominant subtitling strategy in translating the cultural words is Transfer with 41 data. Based on the analysis result, within this mainly used Transfer strategy, the translator directly translated the text, word-to-word, so that the translation result in the subtitle becomes complete and accurate with its literal meaning according to the source language.

Magic realism and the feminine in Encanto

The Oscar-winning Disney film Encanto (2021) was hailed for its authentic representation of Colombian culture, but it also sparked a discussion on film’s ability to capture aspects of a culture and even change the global image of a country. This essay does not attempt to evaluate the merit of Encanto as a conveyor of Colombian culture, but investigates the representation of the narrative mode, magic realism, as it is translated from Gabriel García Márquez’s One Hundred Years of Solitude into Disney animation to be presented to a global audience. Based on the current notion of the feminine in modern animated Disney films, we explore how it may function paratextually to guide interpretation of the feminine connection with magic. Viewers of a Disney film in 2021 may have responded differently according to their cultural background and knowledge of languages, and in this case, their familiarity with Disney productions and/or with García Márquez’s literary universe. We examine how Norwegian reviewers received the film, particularly with regard to Disney conventions, such as magical elements, and the representation of female characters.