scholarly journals ‘I don’t have a skull… Or bones’: Minor Characters in Disney Animation

Animation ◽  
2021 ◽  
Vol 16 (1-2) ◽  
pp. 36-50
Author(s):  
Linn Lönroth
Keyword(s):  
Fairy Tale ◽  
Character Theory ◽  
Literary Studies ◽  
Film Performance ◽  
Minor Characters ◽  
Animated Films ◽  
Aesthetic Style ◽  
Animated Film ◽  
Fictional Worlds ◽  
The Aesthetic

This article explores the place of minor characters in Disney’s animated features. More specifically, it proposes that Disney’s minor characters mark an aesthetic rupture by breaking with the mode of hyperrealism that has come to be associated with the studio’s feature-length films. Drawing on character theory within literary studies and on research into animated film performance, the article suggests that the inherent ‘flatness’ of Disney’s minor characters and the ‘figurativeness’ of their performance styles contrasts with the characterizations and aesthetic style of the leading figures. The tendency of Disney’s minor characters to stretch and squash in an exaggerated fashion is also reminiscent of the flexible, plasmatic style of the studio’s early cartoons. In addition to exploring the aesthetic peculiarity of minor characters, this article also suggests that these figures play an important role in fleshing out the depicted fictional worlds of Disney’s movies. By drawing attention to alternative viewpoints and storylines, as well as to the broader narrative universe, minor characters add detail, nuance and complexity to the animated films in which they appear. Ultimately, this article proposes that these characters make the fairy-tale-like worlds of Disney animation more expansive and believable as fictional spaces.

Monsters, Synch: A Taxonomy of the Star Voice

2018 ◽  
pp. 144-164
Author(s):  
Christopher Holliday
Keyword(s):  
Film Performance ◽  
Structural Importance ◽  
Animated Films ◽  
Animated Film ◽  
Character Design ◽  
Multi Media ◽  
Sound Technology ◽  
Film Sound

This chapter proposes that the ascription of star speech (as a dynamic sound form) to the computer-animated film’s puppet performers contributes to the effect and impact of their many screen performances. This chapter takes the star voice to be a unique instrument of performance that lies at the cornerstone of computer-animated film acting, and begins by implicating the potency of the star voice within wider industrial discourses. These include local dubbing practices, sound technology, and the multiplication of star sound across a range of consumer and multi-media products. The formal and structural importance of the star voice to computer-animated film performance is illustrated through the work of prominent film sound theorist Michel Chion and his work on synchresis, a neologism produced out of the combination of “synchronism” and “synthesis”. By extending Chion’s account, this chapter uses descriptors derived from synchresis to outline three prominent synchretic unions operating at the level of character design. A significant innovation here is the development of a taxonomy of the star voice as it is inscribed formally into computer-animated films—anthropomorphic, autobiographic and acousmatic synchresis—which give new precision to the analysis of star voices in animation.

scholarly journals Character Archetypes: Aesthetic Values in Character Design in Malaysia `s Animated Films

2019 ◽  
Vol 8 (11S2) ◽  
pp. 242-245
Keyword(s):  
Inanimate Object ◽  
Aesthetic Value ◽  
Animated Films ◽  
Animated Film ◽  
Character Design ◽  
The Difference ◽  
Computer Generated Imagery ◽  
Colour Patterns ◽  
The Aesthetic ◽  
Aesthetic Values

Animation defined as a process which giving inanimate object or images appear to be moved. Today, the technology has advanced to another level which animators using computer-generated imagery (CGI) to animate. The aim of this research is to introduce to people about the aesthetics value in character design. In animated film, it must be a character to roll as something that can successfully give the message, feeling, and mood in a situation. So, the character must have the aesthetic value through strong physical appearance based on his or her colour patterns, body language, and shapes to express them. For example, in Malaysia we have many iconic characters in animated series that succeed in portraying the aesthetics value based on what they wanted to deliver like Upin Ipin, Boboi Boi, Keluang Man and Anak-anak sidek. However, not all viewers see the difference. Thus, by making this research, it will guide them to be more intuitive and can differentiate among characters in any movies.

COMPARATIVE LITERATURE: EAST AND WEST STUDIES

2021 ◽  
Vol 02 (09) ◽  
pp. 8-14
Author(s):  
Aziza Komilovna Akhmedova ◽  
Keyword(s):  
Comparative Literature ◽  
Professional Ethics ◽  
Research Work ◽  
Literary Studies ◽  
The Novel ◽  
World Science ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

The article analyzes the results of the research on the representation of the aesthetic ideal through the image of the ideal hero in two national literatures. For research purposes, attention was paid to highlighting the category of the ideal hero as an expression of the author's aesthetic views. In Sinclair Lewis’s “Arrowsmith” and Pirimkul Kodirov's “The Three Roots”, the protagonists artistically reflect the authors' views on truth, virtue, and beauty. In these novels, professional ethics is described as a high noble value. The scientific novelty of the research work includes the following: in the evolution of western and eastern poetic thought, in the context of the novel genre, the skill, common and distinctive aspects of the creation of an ideal hero were revealed by synthesis of effective methods in world science with literary criteria in the history of eastern and western literary studies, in the example of Sinclair Lewis and Pirimkul Kodirov.

scholarly journals Image in Translated Novels from English into Persian

2016 ◽  
Vol 6 (4) ◽  
pp. 50
Author(s):  
Gholam-Reza Parvizi
Keyword(s):  
Aesthetic Experience ◽  
Translation Studies ◽  
Literary Translation ◽  
Literary Studies ◽  
Theoretical Frameworks ◽  
Translation Strategies ◽  
The Aesthetic ◽  
The Mind

The question of image in literary studies and in recent years in Translation Studies is one of the most problematic innature. In the present study an attempt was made to define the nature of translating linguistic constructions – evokingimages in the mind of reader – in English novels and their rendered versions in Persian translations. In this studyseven types of images (visual, auditory, olfactory, gustatory, tactile, kinesthetic and organic) in two English novelsand their rendered versions in Persian were analyzed based on two theoretical frameworks, the first one is Jiang’sImage-Based Model to Literary Translation (2008) by which the nature of translation of images were examined andthe other is Chesterman’s translation strategies (1997) which help to systematize translation strategies adopted bytranslators in rewriting the images in English novels. The results have shown that in most of the cases the images thatare intended by original author have been changed in the translations, and the aesthetic experience of the ST reader isdifferent from that of the TT reader.

scholarly journals Features of translation into Uigur languageof children's fairy tale "Shuburshun" by A. Karlyukevich

Keruen ◽  
2020 ◽  
Vol 3 (68) ◽  
Author(s):  
A.T. Khamraev ◽  
Keyword(s):  
Fairy Tale ◽  
Literary Translation ◽  
Reverse Effect ◽  
Dominant Feature ◽  
Aesthetic Consciousness ◽  
The Aesthetic

“Shuburshun” is the work of the Belarusian writer A. Karlyukevich and its figuratively and metaphorically is replete with an abundance of tropes with elements of national irony. The text is structurally complex, spiritually rich and elegant. The translator was able to show in translation the national color, spirit and ideal of the fairy tale, he felt the literary world behind the text that inspired the author and sought to recreate it in a holistic way. A significant amount of literary and aesthetic information is encoded in the work as well. Moreover, some words, in particular: “Shuburshun”, “Svisloch’”, etc., appear as the dominant units of the Uighur text. Authors lexemes and glossaries “entered” into the Uyghur text make the work mysterious, because of it they have a reverse effect. The Uygur translation of “Shuburshun” as a new independent aesthetic phenomenon, due to the interpenetration of various contents and forms, is experiencing internal implicit conjugation changes that rigidly interlink textual connections at a new level. This is how the principles of aesthetic interferences work and interact in any literary translation that acts as the dominant feature of bicultural aesthetics. It is about the emergence of a “different”literary and aesthetic reality in translation. In particular, we are witnessing an objective process of “entering” (or “invasion”) of Belarusian words into the Uyghur text, which affect the aesthetic consciousness of the reader.

scholarly journals Model baśni filmowej w złotym wieku wytwórni Walta Disneya (wraz z późniejszymi modyfikacjami)

Wielogłos ◽  
2021 ◽  
pp. 151-181
Author(s):  
Maciej Skowera
Keyword(s):  
Golden Age ◽  
Fairy Tale ◽  
Sleeping Beauty ◽  
Snow White ◽  
Animated Films ◽  
Cultural Texts ◽  
Model Film

[Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)] The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio’s films.

scholarly journals Literary works in Azerbaijani animation: symbolism and semantics

2020 ◽  
Author(s):  
Ф. Мир-Багирзаде
Keyword(s):  
Historical Analysis ◽  
Literary Works ◽  
Foreign Literature ◽  
Animated Films ◽  
Comparative Historical Analysis ◽  
Animated Film

При помощи сравнительно-исторического анализа автор исследует азербайджанские мультипликационные фильмы, экранизирующие произведения как отечественной, так и зарубежной литературы. В процессе создания каждого рисованного мультфильма советской эпохи принимали участие профессиональные режиссеры, сценаристы, художники-постановщики, снимавшие анимационные фильмы по произведениям азербайджанских писателей-классиков, среди которых – Низами Гянджеви, Мухаммед Физули, Сеид Азим Ширвани, Мирза Алекпер Сабир, Джалил Мамедкулизаде, Абдулла Шаиг, Сулейман Сами Ахундов, Али Керим, Расул Рза. К числу азербайджанских мультфильмов, снятых по произведениям зарубежной литературы, относится экранизация «Звездных дневников Ийона Тихого» и анимационный фильм по мотивам японских хайку. Азербайджанские мультфильмы по мотивам литературных произведений, вошедшие в золотой фонд киноискусства Азербайджана, отличаются специфическим творческим методом. Using a comparative historical analysis, the author explores Azerbaijani cartoon films that screen works of both domestic and foreign literature. In the process of creating each Soviet-era drawn cartoon, professional directors, screenwriters, and production designers took part in making animated films based on the works of Azerbaijani classic writers, such as Nizami Ganjavi, Mohammad Fuzuli, Seyid Azim Shirvani, Mirza Alakbar Sabir, Jalil Mammadguluzadeh, Abdulla Shaig, Suleyman Sani Akhundov, Ali Kerim, Rasul Rza. Azerbaijani cartoons based on works of foreign literature include the adaptation of «Ijon Tichy’s Star Diaries» and an animated film based on Japanese haiku. Azerbaijani cartoons based on literary works included in the Golden Fund of cinema art of Azerbaijan are distinguished by a specific creative method.

scholarly journals Aesthetization of the christian ethical ideal in o. wilde's fairy tale «The Happy Prince»

2020 ◽  
Vol 13 (22) ◽  
pp. 11-16
Author(s):  
Vitaliia Aleksenko ◽  
Keyword(s):  
Fairy Tale ◽  
Ancient Philosophy ◽  
Christian Doctrine ◽  
Dead Bird ◽  
The Poor ◽  
The Earth ◽  
Christian Love ◽  
The Aesthetic ◽  
The Relationship ◽  
Precious Stones

The paper explores the problem of the relationship between the ideas of aesthetics and the Christian doctrine of active love in the famous tale written by O. Wilde. The research which emphasizes the Christian basis of the author's outlook became the methodological basis of the present study on the background of a detailed analysis of various assessments of the writer's position, interpreted as an immoral aesthete and as a supporter of socialist ideas or a recipient of ideas of ancient philosophy of spiritual beauty. The study proves this in detail, analyzing the plot and figurative solutions of the fairy tale «Happy Prince», taking into account the traditional Christian symbols. Thus, the image of the Prince-Statue, decorated with gold and precious stones, is interpreted as a symbol of Christ, who gives his splendor and power to save the poor. It is also reminiscent of the words of Christ, who tells a young rich man who seeks perfection to sell his wealth and give money to the poor. The very values of the earthly world, gold and precious stones, luxurious things made of them, are transparently interpreted in an ironically reduced tone. The confirmation of the fact that the aestheticization of being yields to the hidden spiritual greatness of Christian love and self-sacrifice is also that that the values of the earthly world, gold and precious stones are transparently interpreted in an ironic tone in the fairy tale. The swallow, being the ancient symbol of the Renaissance, this bird was lured by the perishable beauty of idols and tombs of Egypt, the biblical symbol of captivity. The swallow finds its purpose in the service of the Prince, scattering his precious clothes to the poor. And here the ethical criterion turns out to be higher than the aesthetic one. They are not rewarded on the Earth: the bird dies of the cold, and the remains of an unpresentable statue of the prince are demolished, the decisive word to belong to the professor of aesthetics. However, the angel of God brings the most precious things he has found in this city to the heavenly palaces of the Lord: the tin heart of the Prince, torn by grief, and a dead bird. By analyzing the writer's ideological system with implicit implications, Wilde's position is quite obvious: despite his apparent admiration for the aesthetics of beauty, the writer rejects ultimately the doctrine of aesthetics and exalts Christian values, setting out his concept in the style of a parable.

Satisfying a Spirit of Adventure

2018 ◽  
pp. 224-231
Author(s):  
Christopher Holliday
Keyword(s):  
Adult Child ◽  
Genre Analysis ◽  
Contemporary Culture ◽  
Childhood Experience ◽  
Cultural Experience ◽  
Future Opportunity ◽  
Animated Films ◽  
Animated Film ◽  
Adolescents And Adults ◽  
Children's Films

The conclusion reflects on the meaningfulness of genre analysis as paving the way for more rigorously formalist approaches to computer-animated films, but also as a way of positioning industry, technology and textuality in relation to each other. The conclusion also argues that the features of the computer-animated film identified in the book engage with discourses of juvenile behaviour to stretch the terms of the adult/child distinction, with many computer-animated films demonstrating a notable fascination with the vicissitudes and values of the childhood experience. The narratives of computer-animated films invite a specific consideration of what it means to be a child within contemporary culture. I challenge directly Judith Halberstam’s notion that certain children’s films appeal to the “disorderly child” and instead look to the fuzzy distinction between adolescents and adults engendered in portmanteau terms pertaining to cultural categories such as “kidult,” “manchild” and “adultescents.” The child/adult distinction is thus not fixed or ‘frozen,’ but flowing, and the conclusion identifies how computer-animated films offer future opportunity to examine how, as a genre, they mobilise questions about the cultural experience and significance of childhood, at the same time as their narratives redefine adulthood.

Sign in / Sign up

Export Citation Format

Share Document