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Smith, Susan, Noel Brown, and Sam Summers. "Index." : How Reinvented the Animated Feature. : Bloomsbury Academic, 2017. 241–250. Bloomsbury Collections. Web. 23 Sep. 2021. <>.

Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 23 September 2021, 07:58 UTC.

Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 41

I NDEX

ABC Studios 183 Beauty and the Beast 8 , 12 , 87 Ackerman, Alan 157 Bell, John 90 , 96 Adamson, Glenn 77 Berger, John 154 Adaptation 5 3 BFG, Th e 8 9 adult nostalgia 31 – 4 Bird, Michael 159 Aladdin 8 , 26 , 31 , 87 Blackford, Holly 144 Allen, Tim 91 Bly, Robert 160 Allison, Tanine 90 Bode, Lisa 89 Ammirati Puris Lintas 87 B o n d fi lms 10 Andy 4 – 5 , 14 – 15 , 17 , 30 – 1 , 46 , 49 , 52 , 61 , Bonifer, Mike 44 67 , 80 , 88 , 93 – 5 , 97 , 100 , 108 – 10 , Bowie, Malcolm 159 112 – 13 , 116 – 20 , 123 n.21 , 129 – 31 , b o x o ffi ce hits 136 , 138 , 143 , 149 – 50 , 154 , 156 , adaptations 9 – 10 158 – 6 , 173 , 176 – 7 , 185 , 187 – 8 , based on original scripts 10 190 , 192 – 3 genres 8 , 10 Ansen, David 13 Pixar’s commercial and critical arts culture 5 – 6 , 167 – 78 success 11 – 13 capitalist material culture 173 Bradshaw, Peter 29 caricature and moving image, 1 2 expression of 172 – 3 Brave Little Toaster 206 idea of an unconditional space 175 – 6 Brothers Quay 160 , 167 infl uencing pieces of art 171 Brougère, Gilles 136 notion of ‘transaction’ from function to Brown, Bill 148 feeling 177 – 8 Brown, Noel 110 , 127 pop art forms 172 – 3 Bruno, Giuliani 73 provoking emotion, principle of 177 Buckingham, David 136 scripted artefact 174 – 5 buddy salvation conventions 50 – 3 self- acceptance 173 Bug’s Life, A 63 , 66 , 188 , 211 social expression 173 – 4 Burger King 87 – 8 , 100 n.1 tradition of landscape painting 171 12 , 14 , 17 , 27 , 31 , 46 , 48 , view of ‘knowledge’ 173 77 , 87 , 94 , 130 , 137 – 8 , 144 , 149 , Avatar 8 , 89 181 , 186 – 9

Back to the Future 26 , 31 , 168 California Institute of the Arts 107 (CalArts) 7 Barber, Benjamin 32 Calvino, Italo 167 Barbie 65 , 119 , 122 , 128 , 135 , 147 Carnicke, Sharon 89 Barker, Jennifer M. 75 – 6 1 1 Barthes, Roland 142 Cars 2 1 2 Batman 136 Cassar, Ignaz 154

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242 Index

Catmull, Ed 181 – 4 , 188 , 191 Dance of the Stumblers 204 cel- animated fi lms 1 Darley, Andrew 100 character toys 130 – 5 , 137 , 146 David Copperfi eld 2 2 as a collectible 168 Dawn of the Planet of the Apes 8 9 generic 128 , 135 – 6 Decoster, Pieter- Jan 157 o ffi cially licensed 128 Defi ant Ones, Th e 4 1 , 5 1 – 2 child- friendly literary classics 22 – 3 Denby, David 28 childhood play, setting of design process 3 , 59 – 60 Andy’s playroom 143 – 4 , 146 Al’s Toy Barn 65 defensive mechanisms of a r t t e a m 6 2 – 3 survival 145 – 8 Bonnie’s house 67 functions as a zone 143 – 4 cast 59 , 68 n.1 nostalgia 141 – 5 challenges 60 notion of ‘home’ 148 – 9 creative limitations 60 Sid’s locked bedroom 147 – 8 degree of detail 81 – 2 as a ‘transitional space’ 144 design coherence 80 – 1 children’s humour development 28 furniture designs 64 Chion, Michel 73 idea of Sid’s parents 61 Cholmondeley Ladies, Th e 159 lighting technique 59 , 61 – 2 , 65 – 7 Cholodenko, Alan 157 link between everyday activity and Chow, Kenny 90 particular space 77 – 8 Clarke, James 154 – 5 new character designs 65 – 6 Close Encounters of the Th ird Kind new set designs in 6 7 23 , 26 , 30 palette and lighting 61 Cohen, Joel 41 reductive approach to landscapes 62 Coleman, Mary 42 , 52 set design 61 colour palette 3 , 61 , 155 stylization of form, texture and for rooms 79 lighting 61 comedy, modes of 3 o f 6 3 – 6 computer- animated fi lm bodies, o f Toy Story 3 6 6 – 7 organization of 97 – 8 use of strong light sources 62 Production System diegetic and non-diegetic musical soft ware (CAPS) 7 , 184 , 207 numbers 31 , 99 , 106 – 17 , 120 , computer- generated imagery (CGI) 124 n.24 animation 1 , 4 , 73 – 4 , 81 , 83 – 4 , 88 , digital fi lmmaking 4 99 – 100 , 154 , 157 , 181 , 183 digital painting displacement 68 n.7 three- dimensional qualities of 95 , 98 – digital puppetry 89 – 99 9 , 103 n.34 , 103 n.48 Disney 8 Cone, Bill 61 , 63 – 5 , 68 , 70 n.49 animated fi lms, apoliticsm of 33 Courrier, Kevin 106 , 121 nn.4– 5 Burger King union 87 – 8 , 100 n.1 Cowboy & the Spaceman, Th e 4 4 and musicals 106 – 7 creative culture 6 Pixar relationship 182 , 184 – 8 , 191 – 3 cross- promotional activity 87 – 8 , 100 n.1 tie- in promotional merchandise 87 – 8 , Crow, Th e 101 n.5 100 n.1 Crystal, Billy 105 Disney, Roy E. 24 Curious Case of Benjamin Button, DreamWorks 11 , 34 , 99 , 128 , 189 , 191 Th e 8 9 duality and fracturing of self 158 – 9 Cushing, Peter 101 n.5 107

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Index 243

Eberle, Scott G. 134 Freaks 142 Eggleston, Ralph 59 – 60 , 62 – 7 , 68 Freedman, Yacov 91 n.8 , 77 , 79 freewill, notion of 176 Eisner, Michael 24 , 189 Freud, Sigmund 155 Elsaesser, Th omas 73 , 94 Frkovic, Damir 81 Enchanted 107 Frozen 11 , 29 192 Futuropolis 6 , 197 , 204 – 5 E.T. Th e Extra- Terrestrial 15 , 23 , 30 Exorcist, Th e 27 , 66 , 142 Garwood, Ian 73 , 76 , 83 Geri’s Game 70 n.52 family audience 22 – 3 G. I. Joe 128 , 133 , 136 , 198 family entertainment in Hollywood 22 – 3 Gipsy Kings, the 105 , 120 ‘adult’ modes of address 27 Giroux, Henry 153 contemporary 23 – 5 Gladiator 101 n.5 during the 1980s and 1990s 23 Glover, Savion 90 ‘Family Entertainment’ banner 24 Godfather, Th e 168 family fi lm 22 – 3 Goldmark, Daniel 106 , 122 n.8 , 124 n.24 , generic conventions of family fi lms 25 125 n.36 humour and intertexuality 26 – 31 Goldstein, Jeff rey 136 live- action/ animation fusion 24 Good Dinosaur, Th e 1 1 – 1 2 modes of nostalgia 31 – 4 Goodman, John 105 psychological impact of family Gordon, Dave 61 breakdown 30 Goulet, Robert 120 strategies of generic Gray, Jonathan 132 hybridization 29 – 30 Grease 1 0 stylistic and narrative innovations 25 – 6 Guzman, René de 175 use of non- diegetic songs 31 family unit 154 , 161 – 2 Hagener, Malte 73 , 94 Fat Feet 200 ‘Hakuna Matata’ 118 fi lm-audience connection 16 – 17 , 29 – 30 , Halberstam, Judith 144 134 – 5 , 137 – 9 , 139 n.13 , 142 , 146 , Hamm 40 , 82 , 87 , 94 – 5 , 128 – 30 , 186 151 , 182 , 184 – 5 , 190 Hanks, Tom 91 , 110 , 119 – 20 adult audiences 31 – 2 , 35 , 142 Happy Feet 9 0 – 1 cine- literate audiences 26 Harari, Yuval Noah 169 Disney’s audience 26 Harry Potter series 34 family audiences 21 – 3 , 35 Haswell, Helen 83 international audiences 29 , 132 Henderson, Joseph 156 – 7 ‘R’- rated horror fi lm 27 Hobbit, Th e 8 9 tackling of dark themes 158 Holian, Heather 91 12 , 53 Holland, Patricia 148 10 – 11 , 99 , 153 , 161 Honeycutt, Kirk 13 Fisher, Carrie 101 n.5 Hughes, Robert 171 Fleming, Dan 136 , 138 Hunchback of Notre Dame, Th e 8 7 foley artists 82 Forbidden Planet 202 Ice Age sequels 11 48 Hrs. 4 1 , 5 1 – 2 Iger, Robert 191 Fractured Times 143 Incredibles, Th e 12 , 192 Frantz, Marie Louise von 154 , 160 Independence Day 1 3

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244 Index

Indiana Jones and the Temple of Kristeva, Julia 127 Doom 3 4 Kung Fu Panda movies 11 industrial and cultural contexts 2 infantilism 32 Lacan, Jacques 156 – 7 , 161 Innovate the Pixar Way 183 landscape 5 Inside Out 10 , 12 , 153 Lasseter, John 25 , 45 , 53 , 59 – 61 , 66 – 7 , International Film Business, Th e: A 105 , 107 , 131 , 135 , 142 , 157 , 183 , 188 Market Guide Beyond Hollywood 183 Levine, Ken 45 intertextual references 127 – 30 Life in the Freezer 9 0 intertextual connections of light and dark spaces 158 – 60 characters 135 – 9 dark spot of Andy’s vision 160 mutant toys in Sid’s room 133 – 5 Lion King, Th e 8 , 87 , 136 , 118 real- life roots 130 Little Mermaid, Th e 8 , 24 , 185 , 206 real- world toys in Andy’s room Little Princess, Th e 2 2 130 – 3 , 135 – 6 Little Women 2 2 sense of familiarity 130 , 133 – 5 live- action fairy-tale fi lms 29 use of real- life toys 128 – 9 live- action Hollywood family fi lms 3 ‘I Will Go Sailing No More’ 105 , Lone Ranger, Th e 136 112 , 114 – 16 looking glass 153 – 4 , 156 , 159 , 163 Lord of the Rings, Th e 89 , 168 Jackman, Hugh 90 Lovett, Lyle 116 Jameson, Fredric 28 L u c a s fi lm 7 – 8 , 23 , 35 , 191 Jessie 32 , 65 , 70 n.47 , 109 , 118 , 120 – 1 , Luxo Jr. 1 , 8 , 25 , 157 , 209 168 , 189 – 91 Jobs, Steve 7 Madagascar sequels 11 Johnson, Steve 61 Malefi cent 2 9 Joyce, William 61 Maltin, Leonard 26 Jurassic Park 8 , 133 March of the Penguins 9 0 Jurassic World 3 4 M a r v e l 2 3 Jurkowski, Henryk 99 Marvel Studios 23 , 35 , 183 , 191 Mary Poppins 3 2 Kandinsky, Wassily 157 Mattel 127 – 8 , 131 – 2 , 135 Katzenberg, Jeff rey 24 , 26 , 44 , 189 Mazer, Matt 25 development of 1 McCulloch, Richard 184 Kaufman, Charlie 53 M c K e e , R o b e r t 4 0 , 4 2 – 9 Kelley, Victoria 74 , 77 McKee’s screewriting principles Kemper, Tom 95 , 172 buddy salvation subgenre 50 – 3 Kidman, Nicole 90 characterization and setting 52 – 3 k i d u l t h o o d 3 2 – 3 contradictory value 48 – 9 King Kong 8 9 distinction between ‘characterization’ Klaidman, Elyse 177 and ‘true character’ 45 – 6 Klein, Melanie 145 genre study 50 Klein, Norman 174 positive and negative values 47 – 8 K o n d o , R o b e r t 6 2 Woody’s characterization in Toy Koons Corollary 168 Story 4 6 – 7 Koons, Jeff 168 , 172 – 8 McLachlan, Sarah 109 , 118 Krämer, Peter 23 Men in Black 1 3 Kratter, Tia 62 – 3 , 68 n.7 Meyerhold, Vsevolod 96

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Index 245

M G M 2 3 – 4 Newman, Randy 31 , 105 – 12 , 114 – 16 , Midnight Run 5 1 – 2 119 – 20 , 121 nn.1– 2 , 121 n.4 , 122 Mihailova, Mihaela 90 n.5 , 125 n.34 , 212 Miramax 24 songs in Toy Story 107 mirrors, physical and symbolic 154 – 8 News Corporation 23 cinema views as 153 Nickelodeon Movies 24 , 183 as an enticing lie 156 – 7 N i ff enegger, Audrey 162 idea of Other 160 – 1 nostalgia for childhood 141 – 5 , 159 for interpretations of truths and secrets nuclear family unit 162 153 , 156 , 159 Nutt, Jim 173 mirrored image, signifi cance of 156 Nutty Professor 3 4 – 5 of modern US society 162 mirror stage theory 156 – 7 , 161 Odd Couple, Th e 5 0 – 1 Monsters, Inc. 10 – 11 , 105 , 153 , 161 on- screen puppetry 4 1 2 Other, idea of 160 Morris, John 108 mother– baby relations 145 Pagemaster, Th e 2 5 motion- capture technology (mo- cap Pallant, Chris 89 technology) 89 – 92 , 100 , 103 n.39 Paramount Pictures 23 – 4 Motion Picture Association of America Parrish, Maxfi eld 61 – 2 , 69 n.14 , 155 (MPAA) 34 Pascale, Amy 43 Moving Buddies 4 4 Pascheke, Ed 173 Mr. Potato Head 26 – 7 , 31 , 46 , 75 , 93 , 95 , Pauley, Bob 64 , 66 , 68 128 – 9 , 131 , 135 , 139 n.13 , 143 , 146 , Pearson, Jim 63 – 6 , 68 , 70 n.33 186 , 208 , 210 performance in the computer- animated Mrs. Doubtfi re 3 0 fi lm 91 – 2 multimedia conglomerations 23 Perkins, Victor 120 Murphy, Brittany 90 Piaget, Jean 173 Museum of Modern Art 171 Pinocchio 107 musical performance 4 Pirates! In an Adventure with Disney animated musical 106 – 7 Scientists, Th e 2 9 ‘I Will Go Sailing No More’ 105 , Piss Christ 171 112 , 114 – 16 Pixar musical reverberations of ‘You’ve Got a commercial and critical success 11 – 13 Friend in Me’ 118 – 21 creative culture 6 Oscar nominations 105 Disney relationship 182 , 184 – 8 , 191 – 3 reprise of ‘You’ve Got a Friend in growth and progression of 181 – 2 Me’ 116 – 18 history of 183 – 4 ‘Strange Th ings’ 105 , 112 – 14 , 116 Oscar nominations 12 ‘We Belong Together’ 105 performance in foreign markets 11 ‘’ 105 , 109 – 10 , 118 production of sequels 11 – 12 ‘You’ve Got a Friend in Me’ 105 , 108 – mission statement 182 12 , 116 , 119 studio of 183 – 4 mutant toys 49 , 133 – 4 , 208 texts 169 – 70 Pixar Animation Studios 1 , 39 , 59 , 181 – 3 National Endowment for the Arts 184 (NEA) 171 Pixar Touch: Th e Making of a Company, Nest Family Entertainment 25 Th e 182

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246 Index

Playskool 130 – 2 Andy’s awareness of Sid’s shadowy Pocahontas 11 , 87 presence 160 – 1 Podesta, Bobby 98 Short Circuit 3 3 Porter, Tom 82 Shrek fi lms 11 , 29 , 128 , 132 Power Rangers 136 Shrek Th e Musical 9 9 Price, David A. 25 , 41 , 50 , 185 Sid 5 , 14 , 16 – 17 , 26 – 7 , 29 , 49 , 52 , 77 , Prince, Stephen 92 79 , 83 , 117 , 133 , 138 , 147 , 154 , Proschan, Frank 88 , 96 158 – 61 , 176 – 7 provoking emotion, principle of 177 sight gags 27 psychoanalytical accounts 5 Simpsons, Th e 2 8 puppet entertainment 88 – 9 single- parent families 30 constant pulsation in 99 Sixth Sense, Th e 1 3 object- centric methodology 94 Sleeping Beauty 2 9 process of toy manipulation 93 – 4 , 96 Slinky 31 , 80 , 113 , 128 , 131 , 173 , 208 puppet– puppeteer interaction 93 – 9 Smith, Alvy Ray 97 , 182 relationships between animation and Snow White 107 discourses of performance 91 – 2 Snow White and the Seven Dwarfs 23 , 31 toys’ avatarial relationship 93 Sobchack, Vivian 75 puppet manipulation, visions of 4 Sokolow, Alex 41 Purse, Lisa 89 Solomon, Charles 42 , 62 , 67 Something Wicked Th is Way Comes 159 Raiders of the Lost Ark 26 , 34 Sony Pictures Family Entertainment R a n ft , Joe 42 , 131 Group 24 Ratatouille 12 , 53 Spider- Man 3 1 4 Real Steel 8 9 Stanton, Andrew 131 Red Ball Express 199 , 201 Starting life (computer program) Rex 48 , 80 , 87 , 128 , 131 – 2 , 144 , 186 103 n.48 R i ff aterre, Michael 132 Star Trek II: Th e Wrath of Khan 8 rigging technique 97 Star Wars 16 , 23 , 136 Rise of the Planet of the Apes 8 9 Star Wars: Return of the Jedi 8 Rogue One: A Star Wars Story 101 n.5 Star Wars: Th e Empire Strikes Back 1 0 Royle, Nicholas 134 Star Wars: Th e Force Awakens 3 4 ‘R’- rated horror fi lm 27 Stella, Frank 160 , 173 Russian Rooster 199 Stockler, Bruce 22 storytelling conventions 3 , 182 Saturday Night Fever 1 0 storywriting principles 3 S c h a ff er, William 75 Black Friday disaster 43 Schickel, Richard 13 buddy salvation conventions 50 – 2 Schmidt, Andy 172 characterization and setting 52 – 3 Schneider, Rob 45 in- house Pixar story team 42 – 3 Schumacher, Th omas 30 , 75 McKee’s principles 40 , 42 – 9 Scott, A. O. 174 negation of the negation 49 Scott, Ellen 153 original treatment 40 – 1 scripted spaces 174 positive and negative values 47 – 8 Segal, Steve 6 , 197 – 213 Woody’s characterization 46 Seiter, Ellen 137 ‘Strange Th ings’ 116 self, understanding of 156 feelings of alienation and shadow elements 159 – 61 abandonment 112 – 13

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Index 247

studio family fi lms 22 – 3 ‘buddy movie’ structure functions 31 studio narratives 6 , 182 – 4 , 194 n.15 as a buddy picture 42 Superman 1 0 CG eff ects 25 Superman II 1 0 computer- generated imagery (CGI) S t a ff ord, Caroline 109 , 121 n.4 , 125 n.34 eff ects 29 S t a ff ord, David 109 , 121 n.4 , 125 n.34 critique of Hollywood Švankmajer, Jan 160 b l o c k b u s t e r s 1 6 – 1 7 Swan Princess, Th e 2 5 depiction of contemporary Sylbert, Paul 81 America 14 – 15 symbolism of the mirror 5 diff erences with E.T. 1 5 – 1 6 generic hybridization in 29 – 30 tactile appeal of cinema 75 – 6 infl uence on the realm of humans 14 Tarzan 1 1 institution of slavery in 15 Terminator 2: Judgment Day 8 narrative logic behind toys 30 – 1 textures and surface characteristics 74 – 5 ‘postmodern’ narrative strategies 28 colour schemes 78 – 9 , 154 – 5 Toy Story 2 12 , 16 , 32 , 143 , 168 , 188 – 90 degree of detail 81 – 2 art team 63 design coherence 80 – 1 Jessie’s song in 118 elements evoking American past 77 production process 63 – 6 everyday wear and tear 77 – 8 reviews 13 , 21 – 2 relation between form and content 81 Toy Story 3 12 , 15 , 118 , 147 – 9 , 168 , 191 – 3 smoothness and plastic qualities 75 – 6 Toy Story Th at Time Forgot 151 surface roughness and Toy Story– Th e Musical 108 i m p e r f e c t i o n 7 6 – 9 Transformers fi lms 13 , 136 tactile correspondences between transitional space 144 medium and material 75 – 6 Tron: Legacy 7 , 25 , 89 texture’s connection to Tsutsumi, Daisuke ‘Dice’ 66 – 8 t e m p o r a l i t y 7 7 – 8 Turner Broadcasting 23 Th elma & Louise 5 1 – 2 TV shows 28 themes of Toy Story fi lms 2 Twentieth Century-Fox (Fox Family boundaries between live- action and Films) 23 – 4 animated fi lms 29 dialectic between consolidation and Universal Family & Home innovation 25 Entertainment 24 fatherhood and child’s play 16 Unkrich, Lee 63 , 66 , 68 humour and intertexuality 26 – 31 Up 12 , 106 , 123 n.16 , 153 modes of nostalgia 31 – 4 stylistic and narrative innovations 25 – 6 Vansieleghem, Nancy 157 Time Machine, Th e 202 Viacom 23 – 4 Time Warner 23 – 4 visual aesthetics 3 , 59 , 62 , 129 1 – 2 , 8 , 11 , 25 – 6 , 41 , 147 , 185 , 209 notion of peripheral 159 – 60 To Infi nity and Beyond 44 , 182 toy and fi ctional child, relationship between WALL-E 12 , 106 , 123 n.16 , 125 n.36 , 161 5 , 142 – 3 , 155. see also character toys; Walt Disney Company 7 , 23 , 63 , 181 – 2 , childhood play, setting of 189 , 194 Toy Story fi lms Walt Disney Creative Entertainment for agreement between Disney and Disney Cruse Line 108 Pixar 40 – 1 WarGames 3 3

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248 Index

Warner Bros. Entertainment 23 – 4 , 183 91 , 93 – 5 , 98 , 100 , 108 – 20 , 129 – 30 , ‘We Belong Together’ 105 133 – 4 , 135 – 9 , 143 – 4 , 146 – 7 , 149 – Weinstein, David 28 50 , 154 – 8 , 160 , 162 , 168 – 9 , 173 – 4 , Wells, Frank 24 , 189 176 – 8 , 181 , 185 – 9 , 191 – 4 , 208 Wells, Paul 142 Woody’s Roundup 65 , 105 , 119 , Wetmore Jr., Kevin J. 93 147 , 189 – 90 Whedon, Joss 43 – 4 , 53 Wreck It Ralph 129 Wheezy 119 – 21 ‘When She Loved Me’ 105 , 109 – 10 , 118 X Portfolio 171 2 4 – 6 , 3 7 n.27 , 129 Yates, Christopher 78 Wilkie- Stibbs, Christine 131 – 2 ‘You’ve Got a Friend in Me’ 105 , 108 – 12 , Williams, Robin 26 , 90 116 , 119 , 144 , 191 – 3 Willis, Susan 135 musical reverberations of 118 – 21 Winnicott, Donald Woods 145 Newman’s voice 108 – 12 Wizard of Oz, Th e 22 , 27 , 148 reprise of 116 – 18 Wood, Aylish 97 song’s relevance 109 Wood, Elijah 90 Wood, Grant 61 – 2 , 65 – 6 , 80 Zinoman, Jason 45 Woody 5 – 6 , 12 – 13 , 27 , 29 – 31 , 33 , 35 , Zipes, Jack 31 4 3 , 4 6 – 9 , 5 1 – 3 , 6 4 – 5 , 7 9 – 8 0 , 8 7 – 8 , 1 0

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