INF 226.Pdf (1.108Mb)

Total Page:16

File Type:pdf, Size:1020Kb

Load more

i FACULTAD DE COMUNICACIÓN La construcción del protagonista y la empatía en la ficción animada: Análisis del arquetipo heroico de Coco (2017) Tesis para optar el Título de Licenciado en Comunicación Carolina Cecilia Villacorta Celi Asesor: Mgtr. Tomás Atarama Rojas Piura, febrero de 2020 ii iii Resumen Analítico-Informativo La construcción del protagonista y la empatía en la ficción animada: Análisis del arquetipo heroico de Coco (2017) Carolina Cecilia Villacorta Celi Asesor(es): Mgtr. Tomás Atarama Rojas Tesis. Licenciado en Comunicación Universidad de Piura. Facultad de Comunicación. Piura, febrero de 2020 Palabras claves: Arquetipo heroico / empatía / ficción animada / verosimilitud / protagonista / Pixar / Coco (2017) Introducción: Esta tesis presenta un estudio de la película Coco (2017), donde se analiza al protagonista de la ficción animada y la generación de empatía a través de la construcción de arquetipos. Asimismo, el interés de esta investigación surge tras considerar el éxito de dicha película, la cual destaca por la universalidad de sus temas, que permitió un disfrute de un modo global por encima de las diferencias culturales de cada sociedad y que se vio reflejado con el éxito en la taquilla internacional. Metodología: La metodología de esta investigación consiste en un análisis diegético aplicado al protagonista de la película Coco (2017), como el eje central del conjunto de elementos que detonan la empatía en la audiencia, para lo cual se consideró el estudio de cuatro momentos que denotan el proceso de construcción del modelo de arquetipo de héroe: Presentación y caracterización del protagonista, los conflictos del protagonista, evolución de los niveles del protagonista y la confirmación del arquetipo heroico del protagonista. Resultados: La historia que ofrece esta película representa una realidad humana, con experiencias semejantes a la cotidianidad de la audiencia y personajes identificables que se desenvuelven de manera coherente a lo largo de la historia. Estos elementos juegan a favor de la generación de empatía ya que cumplen un rol como intensificadores de las emociones de los espectadores, al mismo tiempo que les permite conocer al personaje a profundidad y entender sus reacciones según las circunstancias. Conclusiones: La película Coco (2017) se ve enriquecida con la construcción de arquetipos, ya que le otorgan profundidad al relato, donde hay personajes y conflictos creíbles, presentados con claridad, unidad y coherencia, los cuales reflejan la humanidad del espectador reconocida universalmente, incluso involuntariamente. De esta manera se logra establecer una conexión estable con la audiencia, la cual estará más dispuesta ante la obra audiovisual que se asemeja a la vida misma. Fecha de elaboración del resumen: 06 de febrero de 2020 iv Analytical-Informative Summary La construcción del protagonista y la empatía en la ficción animada: Análisis del arquetipo heroico de Coco (2017) Carolina Cecilia Villacorta Celi Advisor: Mgtr. Tomás Atarama Rojas Tesis Licenciado en Comunicación Universidad de Piura. Facultad de Comunicación. Piura, febrero de 2020 Keywords: Heroic archetype / empathy / animated fiction / verisimilitude / protagonist / Pixar / Coco (2017) Introduction: This thesis presents a study of the Coco movie (2017), where it’s analyzed the protagonist of the animated fiction and the generation of empathy through the construction of archetypes. The interest of this research arises after considering the success of this film, which stands out for the universality of its themes, that allowed an enjoyment in a global way over the cultural differences of each society and that was reflected with the success in the international box office. Methodology: The methodology of this research consists of a diegetic analysis applied to the protagonist of the Coco movie (2017), as the central axis of the set of elements that detonate empathy in the audience, for which it was considered the study of four moments that denote the process of building the model of hero archetype: Presentation and characterization of the protagonist, the protagonist's conflicts, evolution of the protagonist's levels and confirmation of heroic archetype of the protagonist. Results: The story that offers this movie represents a human reality, with experiences similar to the daily life of the audience and identifiable characters that develop in a coherent way along the history. These elements play in favor of the generation of empathy because they fulfill a role as intensifiers of the emotions of the spectators, while allowing them to meet the deep character and understand their reactions according to the circumstances. Conclusions: The Coco movie (2017) it’s enriched with the construction of archetypes, because they give depth to the story, where there are credible characters and conflicts, presented with clarity, unity and coherence, which reflect the spectator's humanity universally recognized, even involuntarily. In this way it’s possible to establish a stable connection with the audience, which will be more willing to the audiovisual work that resembles life itself. Summary date: February 6st, 2020 v Tabla de contenido Introducción .............................................................................................................................. 1 Capítulo 1 Marco teórico ......................................................................................................... 5 1. El protagonista: Su creación en la ficción cinematográfica ............................................. 5 1.1. La construcción de personajes ................................................................................. 5 1.1.1. Personajes en la ficción animada ................................................................. 6 1.2. Elementos que interactúan en la construcción del protagonista .............................. 7 2. El arquetipo de héroe en las ficciones animadas ............................................................ 11 2.1. Los arquetipos como modelo universal ................................................................. 11 2.2. Elementos definitorios del arquetipo heroico ........................................................ 13 3. La empatía como nexo entre la historia y el público ...................................................... 16 Capítulo 2 Material y metodología ....................................................................................... 23 1. Material de la investigación ............................................................................................ 23 1.1. La colaboración Disney – Pixar ........................................................................... 23 1.2. Coco (Lee Unkrich, 2017) .................................................................................... 30 2. Metodología de la investigación: Análisis de la construcción del arquetipo para generar empatía ............................................................................................................. 34 2.1. Presentación y caracterización del protagonista .................................................. 34 2.2. Los conflictos del protagonista ............................................................................ 34 2.3. Evolución de los niveles del protagonista ........................................................... 35 2.4. Confirmación del arquetipo heroico del protagonista .......................................... 35 Capítulo 3 Resultados y reflexiones ...................................................................................... 39 1. El alcance de la empatía en el protagonista de Coco ..................................................... 39 1.1. El reconocimiento del protagonista ..................................................................... 39 1.2. Los conflictos en torno al protagonista ................................................................ 43 1.3. Niveles del personaje a lo largo de la acción ....................................................... 47 1.4. El viaje iniciático en Coco (2017) ....................................................................... 48 2. La empatía en la ficción animada a través de la construcción del arquetipo heroico ..... 54 vi Conclusiones ........................................................................................................................... 59 Referencias bibliográficas ...................................................................................................... 61 vii Lista de tablas Tabla 1. Tipos de Arquetipos según Vogler ........................................................................ 13 Tabla 2. Filmografía de la colaboración Disney – Pixar ..................................................... 29 Tabla 3. Resumen del Análisis diegético de la construcción del arquetipo para generar empatía ..................................................................................................... 36 Tabla 4. Las dimensiones de Miguel ................................................................................... 42 Tabla 5. Tipos de Conflictos en Coco ................................................................................. 46 Tabla 6. Cuadro resumen de los niveles del personaje principal en Coco .......................... 48 Tabla 7. Análisis diegético del protagonista de la película Coco (2017). ........................... 50 Tabla 8. Presentación de los resultados en función de las variables del análisis diegético ...............................................................................................................
Recommended publications
  • 92Nd ACADEMY AWARDS® BALLOT

    92Nd ACADEMY AWARDS® BALLOT

    92nd ACADEMY AWARDS® BALLOT IMDb LIVE is covering the Academy Awards all evening long -- join us at IMDb.com on Feb. 9 at 7:30 p.m. ET/4:30 p.m. PT Name ¨ A B BEST ACHIEVEMENT ¨ A Marriage Story 8.1 14 Once Upon a Time... in Hollywood 7.7 Noah Baumbach IN COSTUME DESIGN Wylie Stateman A ¨ Once Upon a Time... in Hollywood 7.7 ¨ Jojo Rabbit A8.0 ¨ Star Wars: The Rise Of Skywalker A6.9 Total Correct Quentin Tarantino Mayes C. Rubeo Matthew Wood and David Acord A ¨ Parasite 8.6 ¨ Joker A8.6 /24 Bong Joon Ho and Jin Won Han Mark Bridges BEST ACHIEVEMENT 20 ¨ Little Women A8.1 IN VISUAL EFFECTS Jacqueline Durran BEST MOTION PICTURE BEST ADAPTED ¨ 1917 A8.5 01 08 A OF THE YEAR SCREENPLAY ¨ Once Upon a Time... in Hollywood 7.7 Guillaume Rocheron, Greg Butler, and A Arianne Phillips Dominic Tuohy ¨ 1917 A8.5 ¨ Jojo Rabbit 8.0 ¨ The Irishman A8.0 A Sam Mendes, Pippa Harris, Jayne-Ann Taika Waititi ¨ Avengers: Endgame 8.5 Christopher Peterson and Sandy Powell Tenggren, and Callum McDougall ¨ Joker A8.6 Dan DeLeeuw, Russell Earl, Matt Aitken, Todd Phillips and Scott Silver and Daniel Sudick ¨ Ford v Ferrari A8.2 A BEST ACHIEVEMENT IN ¨ A Peter Chernin, Jenno Topping, James Mangold ¨ Little Women 8.1 15 Star Wars: The Rise Of Skywalker 6.9 Greta Gerwig MAKEUP AND HAIRSTYLING Neal Scanlan, Patrick Tubach, Dominic Tuohy, ¨ Jojo Rabbit A8.0 and Roger Guyett Carthew Neal, Taika Waititi ¨ The Irishman A8.0 ¨ 1917 A8.5 Steven Zaillian ¨ The Irishman A8.0 ¨ Joker A8.6 Naomi Donne, Tristan Versluis, and Rebecca Cole Pablo Helman, Leandro Estebecorena, Todd Phillips, Bradley Cooper, Emma Tillinger ¨ The Two Popes A7.6 ¨ Bombshell A6.8 Nelson Sepulveda, and Stephane Grabli Koskoff Anthony McCarten Kazu Hiro, Anne Morgan, and Vivian Baker ¨ The Lion King A6.9 ¨ Little Women A8.1 ¨ Joker A8.6 Robert Legato, Adam Valdez, Andrew R.
  • Children's Fiction/Picture Books Children's Graphic Novels

    Children's Fiction/Picture Books Children's Graphic Novels

    Children’s Fiction/Picture Books "Amelia Bedelia cleans up / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia dances off / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia goes wild! / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia means business / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia sets sail / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "Amelia Bedelia unleashed / by Herman Parish ; pictures by Lynne Avril.","JPB PAR" "The Bad Guys in cut to the chase / Aaron Blabey.","JPB BLA" Children’s Graphic Novels "Bunbun & Bonbon : fancy friends / Jess Keating.","J GN BUNBUN" "Catwad. High five! / Jim Benton.","J GN CATWAD" "The okay witch and the hungry shadow / by Emma Steinkellner.","J GN OKAY" "Owly : the way home / Andy Runton.","J GN OWLY" "Just a little blue / Andy Runton.","J GN OWLY" "Owly : flying lessons / Andy Runton.","J GN OWLY" "Baloney and friends. 2, Going up! /cGreg Pizzoli.","J GN BALONEY" "Burt the Beetle doesn't bite / Ashley Spires.","J GN BURT" "The Cardboard Kingdom / by Chad Sell.","J GN CARDBOARD" "Roar of the beast / art by Chad Sell ; story by Chad Sell, Vid Alliger, Manuel Betancourt, Michael Cole, David DeMeo, Jay Fuller, Cloud Jacobs, Barbara Perez Marquez, Molly Muldoon, and Katie Schenkel.","J GN CARDBOARD" "Dear DC super-villains : a graphic novel / written by Michael Northrop ; illustrated by Gustavo Duarte ; colored by Cris Peter ; lettered by Wes Abbott.","J GN DEAR" "Dear Justice League / written by Michael Northrop ; illustrated by Gustavo Duarte ; colored by Marcelo Maiolo ; lettered by Wes Abbott.","J GN DEAR" "The dragon path / Ethan Young.","J GN DRAGON" "El Deafo : superpowered edition / Cece Bell ; color by David Lasky.","J GN EL" "Fox & Rabbit / by Beth Ferry ; illustrated by Gergely Dudás.","J GN FOX" "Fox & Rabbit.
  • Theaters 3 & 4 the Grand Lodge on Peak 7

    Theaters 3 & 4 the Grand Lodge on Peak 7

    The Grand Lodge on Peak 7 Theaters 3 & 4 NOTE: 3D option is only available in theater 3 Note: Theater reservations are for 2 hours 45 minutes. Movie durations highlighted in Orange are 2 hours 20 minutes or more. Note: Movies with durations highlighted in red are only viewable during the 9PM start time, due to their excess length Title: Genre: Rating: Lead Actor: Director: Year: Type: Duration: (Mins.) The Avengers: Age of Ultron 3D Action PG-13 Robert Downey Jr. Joss Whedon 2015 3D 141 Born to be Wild 3D Family G Morgan Freeman David Lickley 2011 3D 40 Captain America : The Winter Soldier 3D Action PG-13 Chris Evans Anthony Russo/ Jay Russo 2014 3D 136 The Chronicles of Narnia: The Voyage of the Dawn Treader 3D Adventure PG Georgie Henley Michael Apted 2010 3D 113 Cirque Du Soleil: Worlds Away 3D Fantasy PG Erica Linz Andrew Adamson 2012 3D 91 Cloudy with a Chance of Meatballs 2 3D Animation PG Ana Faris Cody Cameron 2013 3D 95 Despicable Me 3D Animation PG Steve Carell Pierre Coffin 2010 3D 95 Despicable Me 2 3D Animation PG Steve Carell Pierre Coffin 2013 3D 98 Finding Nemo 3D Animation G Ellen DeGeneres Andrew Stanton 2003 3D 100 Gravity 3D Drama PG-13 Sandra Bullock Alfonso Cuaron 2013 3D 91 Hercules 3D Action PG-13 Dwayne Johnson Brett Ratner 2014 3D 97 Hotel Transylvania Animation PG Adam Sandler Genndy Tartakovsky 2012 3D 91 Ice Age: Continetal Drift 3D Animation PG Ray Romano Steve Martino 2012 3D 88 I, Frankenstein 3D Action PG-13 Aaron Eckhart Stuart Beattie 2014 3D 92 Imax Under the Sea 3D Documentary G Jim Carrey Howard Hall
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar

    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.
  • Asians & Pacific Islanders Across 1300 Popular Films (2021)

    Asians & Pacific Islanders Across 1300 Popular Films (2021)

    The Prevalence and Portrayal of Asian and Pacific Islanders across 1,300 Popular Films Dr. Nancy Wang Yuen, Dr. Stacy L. Smith, Dr. Katherine Pieper, Marc Choueiti, Kevin Yao & Dana Dinh with assistance from Connie Deng Wendy Liu Erin Ewalt Annaliese Schauer Stacy Gunarian Seeret Singh Eddie Jang Annie Nguyen Chanel Kaleo Brandon Tam Gloria Lee Grace Zhu May 2021 ASIANS & PACIFIC ISLANDERS ACROSS , POPULAR FILMS DR. NANCY WANG YUEN, DR. STACY L. SMITH & ANNENBERG INCLUSION INITIATIVE @NancyWangYuen @Inclusionists API CHARACTERS ARE ABSENT IN POPULAR FILMS API speaking characters across 1,300 top movies, 2007-2019, in percentages 9.6 Percentage of 8.4 API characters overall 5.9% 7.5 7.2 5.6 5.8 5.1 5.2 5.1 4.9 4.9 4.7 Ratio of API males to API females 3.5 1.7 : 1 Total number of speaking characters 51,159 ‘ ‘ ‘ ‘‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ ‘ A total of 3,034 API speaking characters appeared across 1,300 films API LEADS/CO LEADS ARE RARE IN FILM Of the 1,300 top films from 2007-2019... And of those 44 films*... Films had an Asian lead/co lead Films Depicted an API Lead 29 or Co Lead 44 Films had a Native Hawaiian/Pacific 21 Islander lead/co lead *Excludes films w/ensemble leads OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS OF THE 44 FILMS WITH API WITH API WITH API WITH API LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS LEADS/CO LEADS 6 0 0 14 WERE WERE WOMEN WERE WERE GIRLS/WOMEN 40+YEARS OF AGE LGBTQ DWAYNE JOHNSON © ANNENBERG INCLUSION INITIATIVE TOP FILMS CONSISTENTLY LACK API LEADS/CO LEADS Of the individual lead/co leads across 1,300 top-grossing films..
  • MONSTERS INC 3D Press Kit

    MONSTERS INC 3D Press Kit

    ©2012 Disney/Pixar. All Rights Reserved. CAST Sullivan . JOHN GOODMAN Mike . BILLY CRYSTAL Boo . MARY GIBBS Randall . STEVE BUSCEMI DISNEY Waternoose . JAMES COBURN Presents Celia . JENNIFER TILLY Roz . BOB PETERSON A Yeti . JOHN RATZENBERGER PIXAR ANIMATION STUDIOS Fungus . FRANK OZ Film Needleman & Smitty . DANIEL GERSON Floor Manager . STEVE SUSSKIND Flint . BONNIE HUNT Bile . JEFF PIDGEON George . SAM BLACK Additional Story Material by . .. BOB PETERSON DAVID SILVERMAN JOE RANFT STORY Story Manager . MARCIA GWENDOLYN JONES Directed by . PETE DOCTER Development Story Supervisor . JILL CULTON Co-Directed by . LEE UNKRICH Story Artists DAVID SILVERMAN MAX BRACE JIM CAPOBIANCO Produced by . DARLA K . ANDERSON DAVID FULP ROB GIBBS Executive Producers . JOHN LASSETER JASON KATZ BUD LUCKEY ANDREW STANTON MATTHEW LUHN TED MATHOT Associate Producer . .. KORI RAE KEN MITCHRONEY SANJAY PATEL Original Story by . PETE DOCTER JEFF PIDGEON JOE RANFT JILL CULTON BOB SCOTT DAVID SKELLY JEFF PIDGEON NATHAN STANTON RALPH EGGLESTON Additional Storyboarding Screenplay by . ANDREW STANTON GEEFWEE BOEDOE JOSEPH “ROCKET” EKERS DANIEL GERSON JORGEN KLUBIEN ANGUS MACLANE Music by . RANDY NEWMAN RICKY VEGA NIERVA FLOYD NORMAN Story Supervisor . BOB PETERSON JAN PINKAVA Film Editor . JIM STEWART Additional Screenplay Material by . ROBERT BAIRD Supervising Technical Director . THOMAS PORTER RHETT REESE Production Designers . HARLEY JESSUP JONATHAN ROBERTS BOB PAULEY Story Consultant . WILL CSAKLOS Art Directors . TIA W . KRATTER Script Coordinators . ESTHER PEARL DOMINIQUE LOUIS SHANNON WOOD Supervising Animators . GLENN MCQUEEN Story Coordinator . ESTHER PEARL RICH QUADE Story Production Assistants . ADRIAN OCHOA Lighting Supervisor . JEAN-CLAUDE J . KALACHE SABINE MAGDELENA KOCH Layout Supervisor . EWAN JOHNSON TOMOKO FERGUSON Shading Supervisor . RICK SAYRE Modeling Supervisor . EBEN OSTBY ART Set Dressing Supervisor .
  • Educational and Therapeutic Impact of Contemporary Animated Film Characters on the Viewer

    Educational and Therapeutic Impact of Contemporary Animated Film Characters on the Viewer

    Konteksty Pedagogiczne 2(11)/2018, s. 151–163 DOI: 10.19265/KP.2018.211151 www.kontekstypedagogiczne.pl Joanna Mytnik [email protected] University of Bialystok ORCID iD: 0000-0003-3924-8188 Educational and therapeutic impact of contemporary animated film characters on the viewer Introduction From the beginning of its existence, films have been evoking interest and giving inspiration. A motion picture has been a tool for many practition- ers. Educators, psychologists, therapists, and animators have long appreci- ated and used film art in their work. Considering the increasing pervasion of the mass media into human life, its presence in many aspects of human functioning, it is necessary to pay close attention to the power of its influ- ence. It is worth noting that the products of popular culture do not only carry risks. Films created for commercial purposes also serve higher purposes, not just entertainment. Being easier in perception for the viewer at any age (through the frequency of contact with this cultural product), it can influence their emotions more strongly, encourage deeper mental work and stimulate reflection. In this article I would like to focus primarily on the possibilities of supporting upbringing and human development, referring to the assump- tions of film therapy (Kozubek, 2016). According to Depta, “the starting point of educational work with a film should be the use of such films that are most popular among young viewers while increasing their cognitive horizons” (Depta, 1983, p. 165). The potential of contemporary animated films seems to be indisputable in this respect, as will be demonstrated by the analysis of the main factor of their influence on the viewer, namely film heroes.
  • Academy Invites 774 to Membership

    Academy Invites 774 to Membership

    MEDIA CONTACT [email protected] June 28, 2017 FOR IMMEDIATE RELEASE ACADEMY INVITES 774 TO MEMBERSHIP LOS ANGELES, CA – The Academy of Motion Picture Arts and Sciences is extending invitations to join the organization to 774 artists and executives who have distinguished themselves by their contributions to theatrical motion pictures. Those who accept the invitations will be the only additions to the Academy’s membership in 2017. 30 individuals (noted by an asterisk) have been invited to join the Academy by multiple branches. These individuals must select one branch upon accepting membership. New members will be welcomed into the Academy at invitation-only receptions in the fall. The 2017 invitees are: Actors Riz Ahmed – “Rogue One: A Star Wars Story,” “Nightcrawler” Debbie Allen – “Fame,” “Ragtime” Elena Anaya – “Wonder Woman,” “The Skin I Live In” Aishwarya Rai Bachchan – “Jodhaa Akbar,” “Devdas” Amitabh Bachchan – “The Great Gatsby,” “Kabhi Khushi Kabhie Gham…” Monica Bellucci – “Spectre,” “Bram Stoker’s Dracula” Gil Birmingham – “Hell or High Water,” “Twilight” series Nazanin Boniadi – “Ben-Hur,” “Iron Man” Daniel Brühl – “The Zookeeper’s Wife,” “Inglourious Basterds” Maggie Cheung – “Hero,” “In the Mood for Love” John Cho – “Star Trek” series, “Harold & Kumar” series Priyanka Chopra – “Baywatch,” “Barfi!” Matt Craven – “X-Men: First Class,” “A Few Good Men” Terry Crews – “The Expendables” series, “Draft Day” Warwick Davis – “Rogue One: A Star Wars Story,” “Harry Potter” series Colman Domingo – “The Birth of a Nation,” “Selma” Adam
  • Chapter Template

    Chapter Template

    Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.
  • Meiermovies Short Films A-Z

    Meiermovies Short Films A-Z

    MeierMovies Short Films A-Z Theatrically released motion pictures of 40 minutes or less Before perusing this list, I suggest reading my introduction to short films at the beginning of my By Star Rating list. That introduction will help explain my star choices and criteria. For a guide to colors and symbols, see Key. Movie Stars Location seen (if known) Year Director A A.D. 1363, The End of Chivalry 2 Florida Film Festival 2015 2015 Jake Mahaffy A la Francaise 3 Enzian (Oscar Shorts) 2013 Hazebroucq/Leleu/Boyer/Hsien/Lorton The Aaron Case 3 Enzian (FilmSlam 5/16) 2015 Sarah Peterson Aashpordha (Audacity) FL 2 Enzian (South Asian FF) 2011 Anirban Roy Abandoned Love 2 Enzian (Brouhaha 2014) 2014 Sarah Allsup ABC FL 1 Florida Film Festival 2014 2014 Nanna Huolman Abnie Oberfork: A Tale of Self-Preservation 0 Florida Film Festival 2018 2017 Shannon Fleming Abortion Helpline, This Is Lisa 3 Florida Film Festival 2020 2019 Barbara Attie/Janet Goldwater/Mike Attie Abiogenesis 2 Enzian (Oscar Shorts) 2012 Richard Mans The Absence of Eddy Table 4 Florida Film Festival 2017 2016 Rune Spaans Acabo de Tener un Sueño (I’ve Just Had a Dream) FL 3 Love Your Shorts 2016 2014 Javi Navarro Accidents, Blunders and Calamities 1 Florida Film Festival 2016 2015 James Cunningham Accordion Player Sl 1 1888 Louis Le Prince The Accountant 0 Enzian (FilmSlam 10/15) 2015 Stephen Morgan/Alex Couch Achoo 2 Oscar Shorts 2018 2018 L. Boutrot/E. Carret/M. Creantor Acide FL 2 Orlando International FF 2020 2018 Just Philippot Acoustic Ninja 2 Enzian (Brouhaha 2016) 2016 Robert Bevis Ace in the Hole 0 Orlando Film Festival 2013 2013 Wesley T.
  • 93Rd Annual Academy Awards® Oscar® Nominations Fact Sheet

    93Rd Annual Academy Awards® Oscar® Nominations Fact Sheet

    93RD ANNUAL ACADEMY AWARDS® OSCAR® NOMINATIONS FACT SHEET Best Motion Picture of the Year: The Father (Sony Pictures Classics) - David Parfitt, Jean-Louis Livi and Philippe Carcassonne, producers - This is the second Best Picture nomination for David Parfitt. He won an Oscar for Shakespeare in Love (1998). This is the first nomination for both Jean-Louis Livi and Philippe Carcassonne. Judas and the Black Messiah (Warner Bros.) - Shaka King, Charles D. King and Ryan Coogler, producers - This is the first Best Picture nomination for all three. Mank (Netflix) - Ceán Chaffin, Eric Roth and Douglas Urbanski, producers - This is the third Best Picture nomination for Ceán Chaffin. Her other nominations were for The Curious Case of Benjamin Button (2008) and The Social Network (2010). This is the first Best Picture nomination for Eric Roth. This is the second Best Picture nomination for Douglas Urbanski. His other nomination was for Darkest Hour (2017). Minari (A24) - Christina Oh, producer - This is her first nomination. Nomadland (Searchlight) - Frances McDormand, Peter Spears, Mollye Asher, Dan Janvey and Chloé Zhao, producers - This is the first Best Picture nomination for Frances McDormand, Mollye Asher and Chloé Zhao. This is the second Best Picture nomination for Peter Spears. His other nomination was for Call Me by Your Name (2017). This is the second Best Picture nomination for Dan Janvey. His other nomination was for Beasts of the Southern Wild (2012). Promising Young Woman (Focus Features) - Ben Browning, Ashley Fox, Emerald Fennell and Josey McNamara, producers - This is the first Best Picture nomination for all four. Sound of Metal (Amazon Studios) - Bert Hamelinck and Sacha Ben Harroche, producers - This is the first nomination for both.
  • Michael Giacchino

    Michael Giacchino

    MICHAEL GIACCHINO AWARDS & NOMINATIONS FILM: ASCAP COMPOSERS CHOICE JOJO RABBIT AWARDS NOMINATION (2020) ASCAP Film Score of the Year 73RD BRITISH ACADEMY FILM JOJO RABBIT AWARDS NOMINATION (2020) Best Original Score THE SOCIETY OF COMPOSERS AND JOJO RABBIT LYRICISTS NOMINATION (2019) Outstanding Original Score for a Studio Film HOLLYWOOD MUSIC IN MEDIA SPIDER-MAN: FAR FROM HOME AWARD (2019) Original Score – Sci-Fi Fantasy HOLLYWOOD MUSIC IN MEDIA JOJO RABBIT AWARD NOMINATION (2019) Original Score – Feature Film ANNIE AWARD (2019) THE INCREDIBLES 2 Outstanding Achievement in Music INTERNATIONAL FILM MUSIC THE INCREDIBLES 2 CRITICS AWARD NOMINATION (2019) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC JURASSIC WORLD: FALLEN CRITICS AWARD NOMINATION KINGDOM (2019) Best Original Score for a Fantasy/Science Fiction/Horror Film HOLLYWOOD MUSIC IN MEDIA THE INCREDIBLES 2 NOMINATION (2018) Best Original Score - Animated Film ASCAP FILM AND TELEVISION ZOOTOPIA AWARD (2017) Film Score of the Year ASCAP Composers’ Choice Award The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 MICHAEL GIACCHINO HOLLYWOOD MUSIC IN MEDIA COCO NOMINATION (2017) Original Score - Animated Film INTERNATIONAL FILM MUSIC CRITICS ASSOCIATION NOMINATION (2017) Composer of the Year INTERNATIONAL FILM MUSIC DOCTOR STRANGE CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for a Fantasy/Science Fiction/Horror Film INTERNATIONAL FILM MUSIC ZOOTOPIA CRITICS ASSOCIATION NOMINATION (2017) Best Original Score for an Animated Film INTERNATIONAL FILM MUSIC