Why Many Adults Enjoy Animated Movies Essay

Why Many Adults Enjoy Animated Movies Essay.

Animated movies are not only targeted on children because there are many grownups now that are fond of them as well. There are three reasons why many adults enjoy animated movies that are because they attract to the moral lesson, characterization and their nostalgia. Adults enjoy animated movies because of nostalgia. Watching an animated movies gave them nostalgia or memories that have sentimental value in their previous life as a children.

For example, we know that ‘Popeye the Sailor Man’ was a great animated cartoon that mesmerizes all kids, and on top of that, adults also enjoy it.

It is an animated cartoon that was created back in the year 1919 which was created by Elzie Crisler Segar. Nowadays, ‘Popeye the Sailor Man’ still being played and get more new generation viewers. Being an adult is a difficult phase of life, thus, the adults may want to release their tension or stress by watching the animated movies.

Childhood can be a good time to many, and seeing animation or cartoon from the past or even present make them feel like a kid again.

Often, there are jokes and deeper message that the adults didn’t catch when they were kids that they can get now. Adults also wants to spend more time with their love one, and by doing that, their bonding with the children can be strengthen. Adults enjoy animated movies because of characterization. Characters of an animation play an important role for us to be in love with the movies.

For example, in ‘SpongeBob Squarepants’, I definitely love the character of Patrick, who is a starfish. He got something unique about his character, and most of the time, he was loyal and always be there for SpongeBob no matter when. The characters have their own distinctive attitudes, modes, temperament that can make the adults fall in love with a character itself and therefore, they will continuous watching the animated movies as it can bring fun. Some of animated movies create a character that is much likely to be more in human perspective.

Perhaps, some character of animated movies can relate to the adults viewer and making them enjoyed when watching the movies. Adults enjoy animated movies because of moral lesson. Most of the animations movies create have their own moral lesson. It is like having fun and in the same time, a lesson is given to the viewers to think and make a wise decision. The moral lesson is not only targeted for children, but instead, the adults also can get a great benefit from watching it.

For example, in the animated movies produce by Disney, Ratatouille had shown a great moral lesson to viewers to be interpreted. Basically, it teaches us that we cannot judge a book by its cover because anybody is capable of doing anything, and if we interested in something, we should go and do it. The moral lessons in animated movies benefit the adults by reflect and interpret the ending of the story. In conclusion, many adults enjoy animated movies because of moral lesson, characterization and their nostalgia.

Why Many Adults Enjoy Animated Movies Essay

History of Animation Essay

History of Animation Essay.

The zoetrope is a device which creates the image of a moving picture. The earliest elementary zoetrope was created in China around 180 AD by the prolific inventor Ting Huan Made from translucent paper or mica panels, Huan hung the device over a lamp. The rising air turned vanes at the top from which hung the pictures painted on the panels would appear to move if the device is spun at the right speed. Magic Lantern (1600)

The magic lantern is the predecessor of the modern day projector.

It consisted of a translucent oil painting and a simple lamp. When put together in a darkened room, the image would appear larger on a flat surface. Athanasius Kircher spoke about this originating from China in the 16th century but it was developed in the late 1650’s by Christian Huygens. Some slides for the lanterns contained parts that could be mechanically actuated to present limited movement on the screen. Thaumatrope (1824)

A thaumatrope was a simple toy used in the Victorian era.

A thaumatrope is a small circular disk or card with two different pictures on each side that was attached to a piece of string or a pair of strings running through the centre. When the string is twirled quickly between the fingers, the two pictures appear to combine into a single image. The thaumatrope demonstrates the Phi phenomenon, the brain’s ability to persistently perceive an image. Its invention is variously credited to Charles Babbage, Peter Roget, or John Ayrton Paris, but Paris is known to have used one to illustrate the Phi phenomenon in 1824 to the Royal College of Physicians. Flip book (1868)

The first flip book was patented in 1868 by John Barnes Linnet. Flip books were yet another development that brought us closer to modern animation. Like the Zoetrope, the Flip Book creates the illusion of motion. A set of sequential pictures flipped at a high speed creates this effect. The Mutoscope (1894) is basically a flip book in a box with a crank handle to flip the pages. Praxinoscope (1877)

The Praxinoscope, invented by French scientist Charles-Émile Reynaud, was a more sophisticated version of the zoetrope. It used the same basic mechanism of a strip of images placed on the inside of a spinning cylinder, but instead of viewing it through slits, it was viewed in a series of small, stationary mirrors around the inside of the cylinder, so that the animation would stay in place, and provide a clearer image and better quality. Reynaud also developed a larger version of the Praxinoscope that could be projected onto a screen, called the Theater Optique.

Information on the Present Traditional Animation Are the oldest and historically the most popular form of animation. In a traditionally-animated cartoon, each frame is drawn by hand. Timing is important for the animators drawing these frames; each frame must match exactly what is going on in the soundtrack at the moment the frame will appear, or else the discrepancy between sound and visual will be distracting to the audience. For example, in high-budget productions, extensive effort is given in making sure a speaking character’s mouth matches in shape the sound that character’s actor is producing as he or she speaks. Feature-length films

The first animated feature film was El Apóstol, made in 1917 by Quirino Cristiani from Argentina. He also directed two other animated feature films, including 1931’s Peludopolis, the first to use synchronized sound. None of these, however, survive to the present day. The earliest-surviving animated feature, which used colour-tinted scenes, is the silhouette-animated Adventures of Prince Achmed directed by German Lotte Reiniger and French/Hungarian Berthold Bartosch. Walt Disney’s Snow White and the Seven Dwarfs are often considered to be the first animated feature when in fact at least eight were previously released. However, Snow White was the first to become successful and well-known within the English-speaking world and the first to use cell animation. Stop Motion

Stop motion is used for many animation productions using physical objects rather than images of people, as with traditional animation. An object will be photographed, moved slightly, and then photographed again. When the pictures are played back in normal speed the object will appear to move by itself. The first example of object manipulation and stop-motion animation was the 1899 short film by Albert E. Smith and J. Stuart Blackton called The Humpty Dumpty Circus. A European stop motion pioneer was Wladyslaw Starewicz who animated The Beautiful Lukanida .The Battle of the Stag Beetles and The Ant and the Grasshopper. CGI animation

Computer-generated imagery (CGI) revolutionized animation. The first film done completely in CGI was Toy Story, produced by Pixar. The process of CGI animation is still very tedious and similar in that sense to traditional animation and it still adheres to many of the same principles. A principal difference of CGI Animation compared to traditional animation is that drawing is replaced by 3D modelling, almost like a virtual version of stop-motion, though a form of animation that combines the two worlds can be considered to be computer aided animation but on 2D computer drawing (which can be considered close to traditional drawing and sometimes based on it). Cell-shaded animation

A type of non-photorealistic rendering designed to make computer graphics appear to be hand-drawn. Cell-shading is often used to mimic the style of a comic book or cartoon. It is a somewhat recent addition to computer graphics, most commonly turning up in console video games. Though the end result of cell-shading has a very simplistic feel like that of hand-drawn animation, the process is complex. The name comes from the clear sheets of acetate, called cells, which are painted on for use in traditional 2D animation. It may be considered a 2.5D form of animation. True real-time cell-shading was first introduced in 2000 by Sega’s Jet Set Radio for their Dreamcast console. Besides video games, a number of anime have also used this style of animation, such as Freedom Project in 2006. CGI Animated humans

Most CGI created films are based on animal characters, monsters, machines or cartoon-like humans. Animation studios are now trying to develop ways of creating realistic-looking humans. Films that have attempted this include Final Fantasy: The Spirits Within in 2001, Final Fantasy: Advent Children in 2005, The Polar Express in 2004, Beowulf in 2007 and Resident Evil: Degeneration in 2009. However, due to the complexity of human body functions, emotions and interactions, this method of animation is rarely used. The more realistic a CG character becomes, the more difficult it is to create the nuances and details of a living person. The creation of hair and clothing that move convincingly with the animated human character is another area of difficulty. The Incredibles and Up both have humans as protagonists, while films like Avatar combine animation with live action to create humanoid creatures.

History of Animation Essay

South Park’s Satire Essay

South Park’s Satire Essay.

South Park, a widely popular animated television series created by Trey Parker and Matt Stone, debuted August 13, 1997 on Comedy Central. Intended for mature audiences, the show has become infamous for its crude, surreal, satirical, and dark humor that covers a wide range of topics. This type of comedy is widely successful across a variety of shows, due in part to societies conformation to social archetypes, which prohibits unacceptable behavior. These shows display characters who have freedom to act however they desire with no consequences from doing so.

Simply, people are entertained most seeing portrayed in television what they themselves cannot, or are not permitted, to do in everyday life.

Diversity and Discrimination

South Park, by nature, exploits the taboo by using it as a means to draw in the attention of it’s viewers. Captivated, they watch as their beliefs, social tendencies, and media are senselessly torn apart and twisted into an unrecognizable form. However, instead of acting in revolt, or criticizing the remarks made, they find it amusing.

Naturally, this crude humor has been called out for ‘crossing the line’, but the negative publicity the show receives only serves to draw in more viewers. The viewers, in turn are convinced to sit and watch as they are stereotyped and bashed by a show meant to entertain them. An fairly well known quote, of unknown origins, goes something like, “If you can’t laugh at yourself, then how can you laugh at anybody else?” This is fitting, as many of South Park’s viewers are prompted to do just that. If anything, this self-criticism is beneficial as it raises awareness to diversity in our culture and in the show, as silly as it sounds, everyone is discriminated against equally.

Unrestrained Entertainment

So, the answer as to how people can watch a show, such as South Park, who’s every line is laced with crude and satirical humor is actually quite simple. As viewers laugh at each other, they in turn laugh at themselves. Equality isn’t necessarily an overwhelming factor to entertaining the masses, but instead opens the door for South Park, and other shows alike, to make fun of any subject, or topic, the creators so desire. This goes back to societies tendency to be entertained by character portrayals that are unrestrained by everyday rules or normalizations. The simplistic cartoon is in fact a cunning play on basic instinct, and because of this deceit, is widely popular amongst many who enjoy the shallow humor that delivers a quick, yet gratifying, laugh.

Influential Entertainment

Many are quick to blame the dark humor for directly changing views of proper conduct in adolescent individuals. They believe the show itself poses a negative influence upon those who are unable to comprehend that it is purely meant for humor, and that it does not demonstrate socially acceptable behavior. They firmly declare that the unrestrained nature of the show itself leads to the aforementioned pliable individuals acting in ways they otherwise would not. They insist that the network airing such shows are solely to blame, with little to no responsibility falling on their own shoulders. Such a stance is ridiculous at best. Those making the claims are too naive as to what truly influences society, and a comedic cartoon, while on the list, is not going to be near the top. This is due in part to the restrictions placed on programs via TV rating systems, which classifies South Park as MA, for mature audiences only, and the parental enforcement against those who should not be watching it in the first place.

Discussion

The critical argument against consumption of any kind, whether it’s media or otherwise, is the unhealthy or negative side effects it may impose. South Park, while crude, surreal and satirical, provides a view into unrestrained consequence free life which surprisingly offers an alternative yet informative view on unfiltered criticism of the diversity of American culture. This fact alone stands to counteract the previous argument and displays that the basis of the show is to provide entertainment to mature audiences who will understand the dark humor and will respond with decency knowing that in the end, it is simply just a cartoon.

South Park’s Satire Essay

Lion King Movie: Simba’s Heroic Journey Essay

Lion King Movie: Simba’s Heroic Journey Essay.

The Lion King is a true hero’s journey that takes place in the savannas of Africa. The title “The Lion King” emphasizes that a lion is king, referring to the main character, Simba. Simba is the hero in the story because he regains his kingdom and defeats evil. He takes responsibility for his actions and his kingdom, and regains order and control. Simba takes part in a hero’s journey by being a part of the departure, initiation, and the return.

After Simba’s father, the ruler of the kingdom is killed while trying to save Simba caught in a heard of wilder beasts; is where Simba’s departure begins, he is banished from his homeland by his evil uncle Scar. Scar tells Simba “to leave and never return.” (The Lion King), Scar then send his hyenas (who act as his personal army and assistants), to kill him. But Simba escapes and is found by Timon (a meerkat) and Pumba (a warthog), he goes on to grow up in a paradise-like jungle with them.

Years later, Simba’s best friend from the pride lands Nala comes in search of help and happens to find Simba by chance. She asks him to return with her because of Scar’s oppressing reign, but he refuses his call to adventure. Scar has told everyone in the kingdom that Simba was killed in the same stampede his father was.

Nala realizes that since samba is alive, that means he’s the king. His reaction “No I’m not the king, maybe I was gonna be but that was a long time ago.” (The Lion King) Simba wouldn’t tell her the reason for his refusal, but it was because he believed his father’s death was his fault; and he was scared to return there, he didn’t have any confidence in himself, that he could overtake Scar. Simba meets Rafiki while out one night reflecting on his call to adventure, and helps initiates Simba’s return to the kingdom. Rafiki is in a tree singing, he seems to follow Simba, and he lets Simba know that he knows exactly who he is. He becomes Simba’s mentor and leads Simba into an enchanted jungle of tangled trees and roots, where he says Simba’s father, named Mufasa, is living (even though he is really dead). He is led to a small pool of water, where Rafiki tells him to “look in the water, and tell me what you see” (The Lion King) He looks, but only sees a reflection of himself. When he is told to “look harder” (The Lion King), he sees his father in the ripples of the water. Rafiki tells Simba his father “lives in you”(The Lion King).

This scene in the movie symbolizes that Simba was always meant to be king. Suddenly a wind blows and in the clouds, Mufasa’s spirit appears. Mufasa tells him that he has “you have forgotten who you are, and so you have forgotten me” (The Lion King) He also explains that he is “more than you have become, you must take your place in the circle of life” (The Lion King) he tells him to “remember who you are, you are my son and the one true king” (The Lion King). Mufasa also acts as a mentor to Simba throughout this movie through spirit. Simba has a change of heart immediately after he meets together with his father. You can tell this because Simba states, “It looks like the winds are changing,” (The Lion King) as the winds calm, this is a symbol for his personal winds of change, or his change of heart. Rafiki teaches him that, “You can either run from the past, or learn from it.” (The Lion King) This statement is important because Simba needed to put the death of his father behind him instead of running from it. He realizes he needs to return to his rightful place as king. The struggles he knows he must face are regaining his kingdom and defeating Scar.

“The King has returned.” (The Lion King) These powerful words are spoken by Rafiki when telling Nala, Timon, and Pumba that Simba has gone back to the pride lands to put an end to Scar. Before departing back to Pride Rock, to gain his kingdom back; Nala, Timon, and Pumba all offer to help him. Simba comes up with a plan to take back his kingdom. First he wants everyone to continue to think he’s dead. Second, Simba uses Timon and Pumba to distract the hyenas while he and Nala sneak in. Third, Simba tells Nala to “rally the lionesses” (The Lion King) as a form of weapon against the hyenas. They set their plan in motion. While fighting, Scar backs Simba off to the edge of a cliff; as he hung off the edge of it as his father did before his death, that’s when Scar uses this opportunity to admit that he killed Mufasa and that Simba didn’t have anything to do with it.

Simba then leaps up and attacks Scar and holds him down by the neck and makes him admit what he did in front of the hyena’s and other lions. Every one then begins to attack one another. Scar and Simba once again are face to face. As Simba is coming toward Scar, he begs for Simba’s mercy. And then blames everything he did on the hyenas calling them “the enemy” (The Lion King). The hyenas end up hearing him through the walls of fire. Simba and Scar begin to fight. Simba wins the battle by throwing Scar off a cliff. The Hyena’s then appear where Scar has landed and attack him for his betrayal. After defeating Scar, Simba reunites with his family as heavy rain puts out the fire, and the darkness washes away. Symbolizing that oppression that Scar’s reign has caused over the kingdom has come to an end.

Simba turns to Rafiki, who then points to the top of the rock (Simba’s “throne”). They hug and Rafiki simply says to Simba “It is time” (The Lion King). Time for Simba to take this throne, and rightful place in the kingdom and the circle of life; on top of his throne Simba lets out a loud roar to let the kingdom know that he has returned, and the kingdom answers back. This symbolizes Simba’s resurrection. Without taking on his call to adventure, Simba would have never realized his true potential, or been able to take his rightful place in the kingdom.

While Simba is contemplating his call to adventure, he meets his mentor, Rafiki, who helps him change his heart and to go back to his rightful place. He experiences his initiation when he changes his heart after he meets with his father. Simba goes on his return by gaining helpers and making an entrance to the pride lands. He survives a near death experience, at the hand of Scar. He engages and survives the final battle which he wins; gaining his elixir a new found confidence. Simba is changed and he has regained his rightful place in the kingdom and circle of life

Works Cited:
The Lion King. Dir Roger Allers and Rob Minkoff. Perf. Jonathan Taylor Thomas, James Earl Jones, Robert Guillame. VHS. Walt Disney Pictures, 1994 Volger, Christopher. The Writer’s Journey: Mythic Structure for Writers. Studio City: Michael Wiese Productions, 1998

Lion King Movie: Simba’s Heroic Journey Essay

Pixar Animation Studios Essay

Pixar Animation Studios Essay.

“I didn’t come all this way just to see you quit,” this quote by the character Doc Hudson from Pixar’s animated movie, Cars, expresses the feeling Pixar based its company upon for the past twenty years. Pixar has grown, and now, families around the world recognize the company’s name. Over the years, Pixar Animation Studios evolved from a small, amateur business into a large, thriving, world-renowned company.

Twenty years ago, George Lucas started a new division under Lucasfilm.

The Computer Research and Development Division at Lucasfilm was set up to create new technologies. Digital imaging, electronic editing, and interactivity all required the technologies being created under the new division. Under the leadership of Alvy Ray Smith and Ed Catmull the technologies quickly emerged. This group of talented individuals which also included Ralph Guggenheim developed new technologies in four divisions: computer graphics, digital audio, computer editing, and video games.

As the technologies formed and the division grew, computer graphics captured the attention of others besides George Lucas.

Companies such as EDS and General Motors gained interest. Steve Jobs, co-founder and CEO of Apple Inc., became increasingly interested in the process of the Lucasfilm, Ltd. Computer division. A few signatures and 10 million dollars later Steve Jobs obtained ownership of the computer graphics division at Lucasfilm, Ltd. The division then became an independent company which became known as “Pixar”. (www.Pixar.com, 1986)

After working for Lucas since 1979 at Lucasfilm as vice-president of the division, Ed Catmull became co-founder and chief technical officer of Pixar (www.Pixar.com, 1986). Forty-four other individuals were also employed under the company at the time. The small staff of Pixar worked hard to expand the reaches of the company. Using computer graphics and animation technologies advanced by the staff itself, Pixar premiered an animation short, Luxo Jr., which was created by John Lassater at Siggraph in 1986. Shortly thereafter, Luxo Jr. was nominated for an Academy Award® for Best Animated Short Film. The film received the Golden Gate Award: first prize, Computer-Generated Imagery at the San Francisco International Film Festival earning the company its first award (www.pixar.com, 1987).

As Pixar created more and more animated shorts, a new technology emerged to improve the appearance of the films on screen. Pixar obtained a patent for their newest tool to overcome the challenges of rendering 3D animation and visual effects. The team who developed the technology consisted of Ed Catmull, Rob Cook, Thomas Porter, Loren Carpenter, Pan Hanrahan, Tony Apodaca, and Darwym Peachy. Their program became known as RenderMan, and it is able to manage an enormous amount of geometric complexity. The program also provides cutting-edge effects such as motion blur, realistic shading, the appearance of fur and hair, displacements, and many other new effects. With the use of RenderMan, Pixar raised the expectations in animation.

Along with the production of animated shorts, the company produced commercials for many companies. Tropicana earned the honor of having Pixar’s first commercial created for them. Over the next few years, Pixar continued to create commercials for numerous companies. Trident, California Lottery, Volkswagen, Listerine, and Pilsbury were among the first who premiered commercials produced by Pixar. For six years, the company created specially-commissioned commercials and spread their name across the nation and other parts of the world. By 1990, the company expanded from forty-four employees to 100 employees (www.fundinguniverse.com, Pixar Animations Studios company history).

In 1991, Walt Disney Studios and Pixar pair together (www.pixar.com, 1991). The new duo develops, produces, and distributes three feature-length films. Pixar and Disney signed a contract to produce quality ‘digital-entertainment’. Walt Disney Studios would provide the funding needed for the production and promotional costs. Disney would also own marketing and licensing fees of the characters and films. Pixar was solely responsible for the content and animation of the three full-length films. Together the alliance created Toy Story, the first full-length computer-animated film. The film was nominated for several awards including three Oscars and two Golden Globes.

As the award nominations kept growing, the money continued to flow into the company. Disney received the most profit from the movie, but Pixar managed to negotiate with its partner to receive a part of the gross revenues from the box office and video sales. Pixar made a profit from RenderMan and continued to receive awards for the program. By 1995, Pixar sold over 100,000 copies and signed a huge licensing deal with Bill Gates and Microsoft. The company announced it’s first-ever profit of $3.1 million on revenues of $10.6 million. Prior to Thanksgiving, Toy Story went public and the company’s success grew. The company grossed $40 million in its first weekend premiere. The movie became the highest grossing film in 1995 and received $362 million worldwide in domestic box office receipts. The following year, Toy Story was released on video to the public, and Pixar was already immersed in the next Disney movie, Bug’s Life. (www.fundinguniverse.com, Pixar company history)

Although Bob Bennet of Autodesk competed with Pixar, he said, “Pixar is the best in the world at what it does.” Their advances in computer and graphics technology created greater competition. The release of Toy Story inspired Dreamworks SKG, Turner Broadcasting, Warner Bros., and Disney to creat major motion pictures with the use of computer animation. Pixar’s A Bug’s Life was up against four other animated pictures, but the company once again prevailed and received $360 million in box office receipts which topped Toy Story. Animated shorts such as Geri’s Game were still being constructed at the time of film production. Pixar once again was nominated for and won won Academy Awards. (www.fundinguniverse.com, Pixar company history)

In 1997, two major events helping to boost the spirits of all those employed at Pixar. A large financial enhancement presented itself to the company as revenues reached $34.7 million and a net income extended to $22.1 million. The triumphs of both A Bug’s Life and Toy Story brought a new deal with Disney. The companies would work as equal partners and produce five additional films within the following ten years. The two pictures remaining from the old deal would become a part of the five new pictures in the new deal. On top of that, Pixar would sell up to five percent of its common stock at $15 per share to Disney. (www.fundinguniverse.com, Pixar company history)

During the last year of the century, Pixar celebrated the achievements of their rapidly growing company. Their most recent success, A Bug’s Life, was released on video and DVD simultaneously, and employees worked hard on the production of a sequel to Toy Story which was planned to be released in November of the next year. At the time, most sequels or prequels were directly released on video; only one video, Disney’s The Rescuers Down Under had broken the trend. Determined, Pixar worked to release the sequel to theaters not straight to video.

Ending the year with $14.3 million in the revenue and $7.8 in net earnings, Pixar entered 1999 with eyes for success. Thanks to the technological achievements of David DiFrancesco, Pixar won its ninth academy award. Later that year, Toy Story 2 earned box office supremacy with its opening in November. The film received high receipts than the first weeks of release for Star Wars: Phantom Menace the year before. The victory over Lucasfilm Ltd., the origin of the Pixar company, provided Pixar with dominance in the box office. Pixar ended its fifth consecutive profitable year with revenues of $121 million and earnings that topped $50 million. (www.fundinguniverse.com, Pixar company history)

Before entering the new century, Pixar reflected back on its achievements over the past 16 years. Five shorts emerged from the company over the years. Each short and all of the new technologies that came out of Pixar earned them many awards. Thirty-two awards including nine Academy Awards were given to the company in honor of their great works. In six years, seventy-one specially-commissioned commercials were produced for numerous amounts of business. Technologies such as CAPS and RenderMan, both created by Pixar, benefited the company by helping to produce better quality animated works. The company’s reach expanded over the country and even to different parts of the world. (www.pixar.com, 1984-1999)

Using the profits of their success, the company purchased an establishment in Emeryville, California. Their new headquarters is 225,000 square-feet and was dues to be completed in the middle of 2000. In the midst of preparing to move locations, Pixar worked with Disney on their next full-length animated picture. The film was scheduled to be released in 2001, and Monsters, Inc. was the title chosen to become the name of the film. Monsters, Inc. became the 3rd highest grossing animated film in history until that point, and it was the highest grossing animated film worldwide in 2001 (www.pixar.com, 2001).

As the company grew to over 600 employees, founding members of the company received further advances of their own. Ed Catmull, co-founder, is named president of the company after serving as chief technical officer since the company was incorporated. John Lassater, Pixar’s executive vice president, signed a ten-year contract to commit his services solely to the studio. (www.pixar.com, 2001)

After the premiere of Disney and Pixar’s Monsters, Inc, the ideas for movies continued to flow through the mind Pixar. Pixar releases Finding Nemo the following year, and the film sells more than eight million units in the first day making it a historical success (www.pixar.com, 2003). The next consecutive year The Incredibles is released to the public. John Lassater returns to his throne as director to create the newest movie Cars.

Coinciding with the release of Cars, Pixar Animation Studios transfers ownership from the hands of Steve Job to Walt Disney Company. Job sells Pixar in an all-stocks transaction worth $7.4 billion (www.pixar.com, 2006). Under the new ownership of Disney, Pixar produces an eighth movie, Ratatouille which is released on June 29, 2007 (www.pixar.com, 2007). Over the next two years, Wall E and Up are both released from Disney and Pixar studios. Pixar gained competition among Dreamworks SKG, Warner Bros., Fox Entertainment, and even its reason of origin, Lucasfilm, Ltd.

Despite many grievances the company faced, Pixar triumphed and grew from a simple division used to experiment with new technologies into a thriving business. Pixar Animation Studios became a pioneer in computer animation. Using its technological advances, supremely crafted animated films, and willpower to succeed, the company flourished. Pixar established an empire known throughout the world in almost every family household. The company came a long way over the past twenty years and not once did they quit.

Pixar Animation Studios Essay

Howls Moving Castle Essay

Howls Moving Castle Essay.

The Fantasy animated film ‘Howl’s Moving Castle’ by award winning director and screenwriter Hayao Miyazaki. Hayao Miyazaki also has an award winning Movie called ‘Spirited Away’. The English version was released June 10, 2005 in USA and Canada. The Japanese version was released September 5, 2004. It is a great movie for identifying camera shots, camera angles, music, camera movement, sound effects, how characters set the themes etc.

Firstly there is a great variety of camera techniques. There is panning to the left when it shows the witch of the waste bring her minions into a little pot.

There is an extreme long shot at the beginning of the movie of the birds (or planes?). There is a close up of Howl’s face when Sophie finds him in his room when he is full bird form.

The last example is when Sophie and Howl go to the new portal to the flower fields it is a long shot to show the good and beautiful view.

Secondly there is a great variety of audio techniques. There is hissing and creaking sound effects when the moving castle walks by in the beginning of the movie which is a digetic sound effect. The pleonastic music at the beginning when the clouds cover the castle it is normal music but when it appears it is mysterious. When the train in the town goes by the natural sound of a train horn comes.

Thirdly the characters set the themes perfectly. Howl sets the theme of Appearance when he says “I see no point of living if I can’t be beautiful”. Sophie sets the theme of Love when she is in a dream and tells Howl (who is in bird form) “I Love you”. Howl also shows the theme of bravery when he says “I’ve had enough of running away”.

The Fantasy Animated film ‘Howl’s Moving Castle’ is great for identifying Camera Techniques, Audio Techniques and Themes.

Howls Moving Castle Essay