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Happily Ever After
“I had a great time reading Jody’s book on her time at Disney as I have been to many of the same places and events that she attended. She went well beyond recounting her experiences though, adding many layers of texture on the how and the why of Disney storytelling. Yet Jody knows the golden rule in this business: If you knew how the trick was done, it wouldn’t be any fun anymore. At the end of the journey, she is simply in awe of the magic just as we all are, even today. Thank you, Jody, for taking us along on that journey.” – ROY P. DISNEY, grandnephew of Walt Disney “Jody may be the most organized, focused person I’ve ever met, and she has excelled in every job she’s held at the company. No one better embodies the Disney spirit.” – MICHAEL D. EISNER, former chairman and CEO of The Walt Disney Company “If Mickey Mouse and Minnie Mouse had a baby, it would be Jody Dreyer.” – DICK COOK, former chairman, Walt Disney Studios “I’m a huge believer in good storytelling. And as a fellow Disney fanatic I'm really excited to see the impact of this great read!” – KATE VOEGELE, singer/songwriter, One Tree Hill actress and recording artist on Disneymania 6 “Jody Dreyer pulls the curtain back to reveal the inner workings of one of the most fascinating and successful companies on Earth. Beyond the Castle offers incredible insight for Disney fans and business professionals alike who will relish this peek inside the magic kingdom from Jody’s unique perspective.” – DON HAHN, producer, Beauty and the Beast, The Lion King 9780310347057_UnpackingCastle_int_HC.indd 1 7/10/17 10:38 AM BEYOND THE CASTLE A GUIDE TO DISCOVERING YOUR HAPPILY EVER AFTER JODY JEAN DREYER WITH STACY WINDAHL 9780310347057_UnpackingCastle_int_HC.indd 3 7/10/17 10:38 AM ZONDERVAN Beyond the Castle Copyright © 2017 by Jody J. -
Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
Transmedia Muppets: the Possibilities of Performer Narratives
Volume 5, Issue 2 September 2012 Transmedia Muppets: The Possibilities of Performer Narratives AARON CALBREATH-FRASIEUR, University of Nottingham ABSTRACT This article examines how the Muppets franchise engages with transmedia narratives, their stories moving fluidly between television, film, comics, the internet and more. Rather than highlight the complexity Henry Jenkins (2006), Elizabeth Evans (2011) and others associate with transmedia, an examination of the Muppets offers insight into a mechanism that allows for simpler coherent connection between texts. The Muppets’ ongoing performer narrative challenges the prevailing understanding of transmedia storytelling. As performative characters (singers, actors, performance artists), any text concerned with Muppets, even those in which they act as other characters, becomes part of an overarching Muppet narrative. A high degree of self-reflexivity further supports transmediality, as most Muppet texts contain references to that text as a performance by the Muppets. Thus the comic Muppet Robin Hood and the film Muppet Treasure Island continue the story of the Muppets as further insight is gained into the characters' personalities and ongoing performance history. Examining different iterations of the Muppets franchise illuminates the ramifications of performer narratives for transmedia storytelling. KEYWORDS Transmedia storytelling, franchise, narrative, Muppets, multi-platform For over fifty-five years the Muppets have been appearing in media texts. They began on local television but have spread across most contemporary mediums, with many of these texts part of the over-arching, ongoing Muppet story. This article explores an alternative framework for defining one form of transmedia storytelling. This model suggests a complication in the understanding of transmedia storytelling put forward by Henry Jenkins (2006) and Elizabeth Evans (2011). -
Spatial Design Principles in Digital Animation
Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system. -
A Totally Awesome Study of Animated Disney Films and the Development of American Values
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice. -
07 Resume Pg 2.Qxd
RESUME 2007 Apr 97 - Mar 99: Walt Disney Feature Animation Eric Hanson • Digital Supervisor- Lead Visual Development Artist for “Interstitials” segment of 12818 Dewey Street “Fantasia 2000”. Concept and design development of digital and live-action orchestra Los Angeles CA 90066 set. Worked closely with director Don Hahn. Use of Alias PA. • Senior Technical Director- Technical Director and Visual Development Artist for 310 . 391 . 7564 “Atlantis”. Concept and design development of cityscape and other CG backgrounds and www.visuraimaging.com elements. Use of Maya. [email protected] Mar 96 - Mar 97: Digital Domain • Senior Digital Artist - Supervising artist for digital cityscape elements on “Fifth Element”. Responsible for design and production of digital cityscape portraying futuristic Manhattan. Worked closely w/ Mark Stetson. Use of Alias PA, Prisms, Track, Moco/ Kuper, Nuke. Education 1986: Bachelor of Architecture, University of Texas/ Austin. Five year professional program with concentration on design, computer graphics. Awards 1995: Honorable Mention, 1995 Computer Deliniation Awards, Architectural Record. 1993: Best of Show, First Place, and Second Place Architectural Animation / 1993 Intergraph International Computer Graphics Competition. 1992: First Place, Second Place Architectural Animation / 1992 Intergraph International Computer Graphics Competition. 1991: First Place Architectural Animation / 1991 Intergraph International Computer Graphics Competition. Teaching 2002 - present: Adjunct Professor, USC School of Cinema-TV, “Introduction to Visual Effects”. 2002 - present: Adjunct Professor, USC School of Cinema-TV, “Creative Visual Effects”. 2002 - present: Adjunct Professor, USC School of Cinema-TV, “Visual Effects & Story”. 1997 - present: Instructor, “Digital Sets for Visual Effects”, Gnomon. 2006: Speaker/ Co-Organizer, NFU Digital Sets Conference featured speaker, Oslo, Norway. 2005: Speaker, Syntesis School featured speaker, San Sebastian, Spain. -
Kom Tillbaka Med Hennes Hjärta!”1 En Studie Om Hur Våld Skildras I Disneyfilmer Ur Ett Genusperspektiv
Kandidatuppsats ”Kom tillbaka med hennes hjärta!”1 En studie om hur våld skildras i Disneyfilmer ur ett genusperspektiv Författare: Frida Göstasson 1 Disney (1937) Snövit [Film] Producent: Walt Disney. Examinator: Hans Hägerdal Handledare: Cecilia Trenter Termin: VT17 1 Ämne: Historia Kurskod: 2HIÄ2E ”Return with her heart!”: A study about how violence are depicted in Disney movies from a gender perspective. Abstract This study examines the depiction of violence in Disney films by investigating the relation between violence and the characters from the 1930’s until today with focus on a gender perspective. The films are Snow White and the Seven Dwarfs, Sleeping Beauty, Beauty and the Beast, Pocahontas, Tangled and Frozen. The theoretical framework is based on the works of Devin McKinney, Henry Giroux and Slavoj Zizeks categorizations of violence. The results of the study show that the hyperreal form of violence have increased substantially, while the structural violence, such as detention, has been reduced and made visible in the narrative. There has also been a change in how the female characters relate to violence. In the earlier movies they took on a passive role, but later on they used violence in a more defensive way. In terms of the antagonists, a difference could be seen between the male and female characters. The female characters more often used other people to help them exercise violence, whilst the male characters did it themselves. The physical violence was more commonly used by the male characters, and the psychological violence was more common among the female characters. Nyckelord: Disney, våld, genus, barnfilm, stereotyper, innehållsanalys Keywords: Disney, violence, gender, children’s films, stereotypes, content analysis 2 Innehållsförteckning Abstract .................................................................................................................................................. -
Muppets Now Fact Sheet As of 6.22
“Muppets Now” is The Muppets Studio’s first unscripted series and first original series for Disney+. In the six- episode season, Scooter rushes to make his delivery deadlines and upload the brand-new Muppet series for streaming. They are due now, and he’ll need to navigate whatever obstacles, distractions, and complications the rest of the Muppet gang throws at him. Overflowing with spontaneous lunacy, surprising guest stars and more frogs, pigs, bears (and whatevers) than legally allowed, the Muppets cut loose in “Muppets Now” with the kind of startling silliness and chaotic fun that made them famous. From zany experiments with Dr. Bunsen Honeydew and Beaker to lifestyle tips from the fabulous Miss Piggy, each episode is packed with hilarious segments, hosted by the Muppets showcasing what the Muppets do best. Produced by The Muppets Studio and Soapbox Films, “Muppets Now” premieres Friday, July 31, streaming only on Disney+. Title: “Muppets Now” Category: Unscripted Series Episodes: 6 U.S. Premiere: Friday, July 31 New Episodes: Every Friday Muppet Performers: Dave Goelz Matt Vogel Bill Barretta David Rudman Eric Jacobson Peter Linz 1 6/22/20 Additional Performers: Julianne Buescher Mike Quinn Directed by: Bill Barretta Rufus Scot Church Chris Alender Executive Producers: Andrew Williams Bill Barretta Sabrina Wind Production Company: The Muppets Studio Soapbox Films Social Media: facebook.com/disneyplus twitter.com/disneyplus instagram.com/disneyplus facebook.com/muppets twitter.com/themuppets instagram.com/themuppets #DisneyPlus #MuppetsNow Media Contacts: Disney+: Scott Slesinger Ashley Knox [email protected] [email protected] The Muppets Studio: Debra Kohl David Gill [email protected] [email protected] 2 6/22/20 . -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
Jim Henson's Fantastic World
Jim Henson’s Fantastic World A Teacher’s Guide James A. Michener Art Museum Education Department Produced in conjunction with Jim Henson’s Fantastic World, an exhibition organized by The Jim Henson Legacy and the Smithsonian Institution Traveling Exhibition Service. The exhibition was made possible by The Biography Channel with additional support from The Jane Henson Foundation and Cheryl Henson. Jim Henson’s Fantastic World Teacher’s Guide James A. Michener Art Museum Education Department, 2009 1 Table of Contents Introduction to Teachers ............................................................................................... 3 Jim Henson: A Biography ............................................................................................... 4 Text Panels from Exhibition ........................................................................................... 7 Key Characters and Project Descriptions ........................................................................ 15 Pre Visit Activities:.......................................................................................................... 32 Elementary Middle High School Museum Activities: ........................................................................................................ 37 Elementary Middle/High School Post Visit Activities: ....................................................................................................... 68 Elementary Middle/High School Jim Henson: A Chronology ............................................................................................ -
Teachers Guide
© Disney “All your dreams can come true if you have the courage to pursue them.” —Walt Disney “Every child is an artist. The problem is how to remain an artist once we grow up.” —Pablo Picasso “Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.” —Leonardo da Vinci “Great art picks up where nature ends.” —Marc Chagall “Everything in creation has its appointed painter or poet and remains in bondage like the princess in the fairy tale ’til its appropriate liberator comes to set it free.” —Ralph Waldo Emerson “I have no special talents. I am only passionately curious.” —Albert Einstein www.DisneyEducation.com page 2 © Disney Dear Educator: Just like sculpting and painting, teaching is an art—in this case, one refined over the course of a teacher’s career. Now you can enhance the classroom experience with some magical help from Snow White and Cinderella as well as the beautiful Tiana from the new Disney animated film The Princess and the Frog . This custom-created Educator’s Guide is designed to support the New Orleans Museum of Art (NOMA’s) exclusive exhibition, Dreams Come True: Art of the Classic Fairy Tales from the Walt Disney Studio. From storytelling and music to performing arts and the power of imagination, the exhibition was created to inspire students to explore, discover, and create in impressive new ways. Dreams Come True showcases original artwork from legendary Disney animated films, including Snow White and the Seven Dwarfs, Cinderella, Sleeping Beauty, The Little Mermaid, and Beauty and the Beast . -
The Story of the Ink and Paint Department
University of Wyoming The Story of the Ink and Paint Department Honors College Project Emma Thielk 5-10-2018 Thielk 1 Table of Contents Introduction………………………………………………………………………………………. 2 How They Were Viewed in the Past………………………………………………………………9 The Walt Disney Family Museum……………………………………………………………….22 Ink & Paint: The Women of Walt Disney’s Animation…………………………………………..42 Conclusion……………………………………………………………………………………….70 Bibliography……………………………...……………………………………………………...73 Thielk 2 Introduction Animations such as Silly Symphonies, Snow White and the Seven Dwarfs, Pinocchio, the move to the current Burbank Studios, as well as many technological innovations defined the golden years of the Disney Studio. Innovations included the use of color in the first fully animated short, Flowers and Trees1, followed by the first full length animated colored feature film, Snow White2. To increase efficiency, the studio had departments that did the same job, like an assembly line. The Ink and Paint department was one such department which included making and mixing the paint colors used to ink and paint every cel photographed for the final film. This department, unlike others, was staffed and run only by females, which was very different from the cultural norms of 1920s-1940s. This department was huge, close to 100 girls working there at one point, and existed until the 60s or 70s when it was eliminated by the introduction of the Xerox machine3; not much was saved through documentation or artifacts for this time-period so there is not a lot known about this department. The Ink and Paint department has been mostly forgotten about in Disney history because it is obsolete for the work being done in present day and wasn’t as glamorous as the Animation department.