What can Dory remember? Who are her parents? In Finding Dory, Pixar Animation Studios sets out to answer these questions, to the delight of Finding Nemo fans. The Art of Finding Dory offers a look at the creative process behind the making of this much-anticipated sequel, shining a light on the many inspiring and beautiful layers of creation the artists at the studio explored during years of development. Copyright (c)2016 Disney Enterprises, Inc. and Pixar. All rights reserved.

This book charts the complex history of the relationship between the Disney fairy tale and the American Dream, demonstrating the ways in which the Disney fairy tale has been reconstructed and renegotiated alongside, and in response to important changes within American society. In all of its fairy tales of the twentieth and twenty-first centuries, the Walt Disney studios works to sell its audiences the national myth of the United States at any one historical moment. With analyses of films and television programmes such as The Little Mermaid (1989), Frozen (2013), Beauty and the Beast (2017) and Once Upon a Time (2011-2018), Mollet argues that by giving its fairy tale protagonists characteristics associated with 'good' Americans, and even by situating their fairy tales within America itself, Disney constructs a vision of America as a utopian space.

This book critically examines how Walt Disney Animation Studios has depicted - and sometimes failed to depict - different forms of harming and objectifying non-human animals in their films. Each chapter addresses a different form of animal harm and objectification through the theories of speciesism, romanticism, and the 'collapse of compassion' effect, from farming, hunting and fishing, to clothing, work, and entertainment. Stanton lucidly presents the dichotomy between depictions of higher order, anthropomorphised and neotonised animal characters and that of lower-order species, showing furthermore how these depictions are closely linked to changing social attitudes about acceptable forms of animal harm. An engaging and novel contribution to the field of Critical Animal Studies, this book explores the use of animals not only in Disney's best known animated films such as 101 Dalmatians, but also lesser known features including Home on the Range and Fun and Fancy Free. A quantitative appendix supplying data on how often each animal species appears and the amount of times animal harm or objectification is depicted in over fifty films provides an invaluable resource and addition to scholars working in both Disney and animal studies.

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 open access 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. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

This open access study of the film Grendel Grendel Grendel, directed by Alexander Stitt, presents it as a masterpiece of animation and design which has attained a national and international cult status since its release in 1981. The film, based on the novel, Grendel, by John Gardner, is a loose adaptation of the Beowulf legend, but told from the point of view of the monster, Grendel. Grendel Grendel Grendel is a mature, intelligent, irreverent and quite unique animated film - it is a movie, both in terms of content and of an aesthetic that was well ahead of its time. Along with a brief overview of Australian animation and a contextualization of where this animated feature fits within the broader continuum of Australian (and global) film history, Dan Torre and Lienors Torre provide an intriguing analysis of this significant Australian animated feature. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com.

In its exploration of puppetry and animation as the performative media of choice for mastering the art of illusion, To Embody the Marvelous engages with early modern notions of wonder in religious, artistic, and social contexts. From jointed, wood-carved figures of Christ, saintly marionettes that performed hagiographical dramas, experimental puppets and automata in Cervantes' Don Quixote, and the mechanical sets around which playwright CalderOn de la Barca devised secular magic shows to deconstruct superstitions, these historical and fictional artifacts reenvisioned religious, artistic, and social notions that led early modern society to critically wrestle with enchantment and disenchantment. The use of animated performance objects in Spanish theatrical contexts during the sixteenth and seventeenth centuries became one of the most effective pedagogical means to engage with civil society. Regardless of social strata, readers and spectators alike were caught up in a paradigm shift wherein belief systems were increasingly governed by reason-even though the discursive primacy of supernatural doxa and Christian wonder remained firmly entrenched. Thanks to their potential for motion, religious and profane puppets, automata, and mechanical stage props deployed a rationalized sense of wonder that illustrates the relationship between faith and reason, reevaluates the boundaries of fiction in art and entertainment cultures, acknowledges the rise of science and technology, and questions normative authority.

While previous work on the Star Wars universe charts the Campbellian mythic arcs, political representations, and fan reactions associated with the films, this volume takes a transmedial approach to the material, recognizing that Star Wars TV projects interact with and relate to other Star Wars texts. The chapters in this volume take as a basic premise that the televisual entrants into the Star Wars transmedia storyworld are both important texts in the history of popular culture and also key to understanding how the Star Wars franchise-and, thus, industry-wide transmedia storytelling strategies-developed. The book expands previous work to consider television studies and sharp cultural criticism together in an effort to bring both long-running popular series, long-ignored texts, and even toy commercials to bear on the franchise's complex history.

This book describes the dubbing process of English-language animated films produced by US companies in the 21st century, exploring how linguistic variation and multilingualism are used to create characters and identities and examining how Italian dubbing professionals deal with this linguistic characterisation. The analysis carried out relies on a diverse range of research tools: text analysis, corpus study and personal communications with dubbing practitioners. The book describes the dubbing workflow and dubbing strategies in Italy and seeks to identify recurrent patterns and therefore norms, as well as stereotypes or creativity in the way multilingualism and linguistic variation are tackled. It will be of interest to students and scholars of translation, linguistic variation, film and media.

An authoritative introduction and guide to the latest developments in animation technology.

This revised and updated edition of the standard introduction to computer animation reflects the latest developments in 3D computer animation. It clearly explains the basic concepts and techniques for all those who want to master the technology, while covering new topics to keep readers up to date on advances in the field. 10 color and 200 black-and-white illustrations.

"At last! A book that I can wholeheartedly recommend to my students. . . . A key text in my classes."—Michael Scroggins, director, Computer Animation Labs, California Institute of the Arts