Despite the fact that cinema and animation have common features, one of the fundamental differences between them is that animation uses metaphors much more freely. This current study explores this feature of animation and analyzes how the use of metaphors affects the narrative and plot structure of full- and short-length animation. The study is based on the narrative analysis of eight films made by Pixar Animation Studio, as a successful company that produces both full- and short-length animated films. The (...) concept of monomyth, which was formulated by Joseph Campbell, in 1949, and had a significant impact on the contemporary film industry, allows me to describe the structure of each of the selected examples. Such a formal approach to describing the plot structure, in turn, makes it possible to trace the impact of the extended metaphor on these plots. As a result, this study reveals and describes three main types of creative metaphors in the context of storytelling: supportive, action-forming and destructive. It appears that the supportive metaphor is used in all of the examined films, while action-forming and destructive metaphors relate to short-length animation only. The individual features of using these types of metaphors in full- and short-length animation are revealed in the concluding parts of the research. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 218 Seiten: 91-117.

Heidegger’s essays “The Origin of the Work of Art” and “The Question Concerning Technology” provide a revealing insight into the importance of exemplarity to artworks. Originally the notion that exemplarity is essential to art is Kantian: As Kant puts it, since originality can produce “original nonsense, [beautiful art’s] products must be models, i.e. exemplary.” However, what Heidegger recognizes is that even if exemplarity allows us to take art seriously in spite of its excesses, it exposes the artwork to new dangers: (...) on the one hand, to the “world withdrawal of the work” as occurs in consignment to the museum shelf, and on the other, to the conditions of Enframing as “challenging-forth,” under which art is taken as a means to an end—dangers which point to the division of artworks between “fine” art and “popular” art. Since Heidegger’s approach favors the former, we will try to gain new critical insight by considering his arguments in the light of a “popular” work that allows us to formulate an exemplarity of popular art as the necessary complement to that of traditional art. By means of an understanding of the exemplarities (in the plural) of artworks, we will be able to reconsider the significance of Heidegger’s notions of reliability, Enframing, and poiesis for our current technological conditions. (shrink)

Death and morality connect in interesting ways in Disney movies. In some Disney films, heroes are defined partly by their willingness to take risks that might result in death, as long as these risks are to protect or obtain good things that make human life worth living. A related ethical issue that Disney films address with regard to death is appropriate grief. Disney films, on balance, show an awareness and respect for the cycle of human life. Perhaps that is why (...) Disney reserves some of its worst deaths for evil characters who refuse to accept the fact of their own mortality. In all of the examples, Disney illustrates the connection many philosophers maintain between courage, cowardice, and death. Disney and Pixar films are so rich and popular that people should use them to engage in difficult conversations about death and other subjects. (shrink)

This chapter explores the question of whether intelligent machines like WALL.E and EVE could potentially be real. It also considers the more fundamental question of whether artificial intelligence is a possibility. WALL.E was significantly different from previous Pixar films in that its central characters – the intelligent machines WALL.E and EVE – were depicted as potentially real, given enough time and technology. To be sure, previous Pixar films presented people with intelligent characters: intelligent toys, intelligent animals, and even (...) anthropomorphized intelligent automobiles. With the notions of change and stability in hand, one can say that natural things have an intrinsic principle which accounts for (that is, causes) their being potentially or actually what they are. Like the Axiom, WALL.E and EVE are artificial because their formal causes are not intrinsic. Like the Axiom, their formal causes are imposed from outside. (shrink)

This fascinating study explores the difficulties faced by modern Westerners in their search for a meaningful life. It sheds light on this enduring cultural dilemma through a close reading of four popular film and television narratives: Pixar's animated feature film, Toy Story; Christopher Nolan's Batman Begins and The Dark Knight; the television romantic comedy, Sex and the City; and, finally, the mobster drama, The Sopranos. The readings are guided by a number of inter-related questions. First, in what ways do (...) these popular stories speak to the modern West's meaning dilemma? What do they have to say about contemporary culture, and its capacity to illuminate the fundamental human? What are the core problems faced by the central characters and how are they resolved? Finally, and perhaps most importantly, do the four stories that come into focus suggest hope or despair in the modern West's search for meaning? (shrink)

Although Ian Barbour’s model for outlining the science-religion relationship is probably the best known taxonomy, it also faces substantial criticism. I offer a qualified defence of the continuing usefulness of Barbour’s taxonomy as a starting point for exploring the science-religion relationship. To achieve this, I outline a method for illustrating Barbour’s taxonomy by using the recent Disney/Pixar film Inside Out in a reciprocal manner: as an upshot, the message of the movie can be employed for modifying some aspects of (...) the taxonomy. (shrink)

Inside Out develops novel cinematic means for representing memory, emotion and imagination, their interior relationships and their social expression. Its unique animated language both playfully represents pre-teenage metacognition, and is itself a manner of metacognitive interrogation. Inside Out motivates this language to ask two questions: an explicit question regarding the social function of sadness, and a more implicit question regarding how one can identify agency, and thereby a sense of developing selfhood, between one’s memories, emotions, facets of personality, and future-thinking (...) imagination. Both the complexity of the language Inside Out develops to ask these questions, and the complicated answers the film provides, ultimately serve as a manner of recognition of the effortfulness of finding one’s place in the world. This article talks sequentially through the complex representative systems Inside Out advances in order to pay homage to the ways in which metacognitive cinema – as well as discussions and hermeneutic readings around that cinema – can make viewers feel recognised for invisible, internal labour that is existentially difficult to share due to its very interiority; an interiority that is reconstructed in imaginative processes such as autobiographical reminiscence, and filmic animation. (shrink)