Results for 'Pixar'

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  1. Pixar’s Boy Stories: Masculinity in a Postmodern Age.[author unknown] - 2014
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  2.  51
    The Hero’s Journey and Three Types of Metaphor in Pixar Animation.Artem Prokhorov - 2021 - Metaphor and Symbol 36 (4):229-240.
    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 (...)
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  3.  70
    Analyzing the fictional worlds of Pixar with an eye on digital humanities.Daniel Candel, Marta Giuliani Pedraza, Slavka Madarova, Paula Rubio Cáceres, Marta Ruiz Sanz, María Victoria Troyano Fernández & Kristīne Treija - 2017 - Semiotica 2017 (218):91-117.
    Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 218 Seiten: 91-117.
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    Book Review: Pixar’s Boy Stories: Masculinity in a Postmodern Age by Shannon R. Wooden and Ken Gillam. [REVIEW]Tristan S. Bridges - 2015 - Gender and Society 29 (4):591-592.
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  5. The Hysteric's Guide to Pixar: Voice and Gaze in Toy Story 1-2.L. Munk Rosing - 2011 - International Journal of Žižek Studies 5 (4).
     
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  6.  86
    The exemplarities of artworks: Heidegger, shoes , and pixar[REVIEW]Julie Kuhlken - 2007 - Continental Philosophy Review 40 (1):17-30.
    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: (...)
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    We're All Gonna Die.Jessica Miller - 2019-10-03 - In Richard B. Davis, Disney and Philosophy. Wiley. pp. 271–281.
    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 (...)
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    WALL·E and EVE.Timothy Brown - 2019-10-03 - In Richard B. Davis, Disney and Philosophy. Wiley. pp. 129–136.
    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 (...)
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  9.  9
    The search for meaning in film and television: disenchantment at the turn of the millennium.Marcus Maloney - 2015 - New York, NY: Palgrave-Macmillan.
    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 (...)
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  10.  15
    Turning Barbour’s Model Inside Out: On Using Popular Culture to Teach About Science and Religion.Tuomas W. Manninen - 2019 - In Berry Billingsley, Keith Chappell & Michael J. Reiss, Science and Religion in Education. Springer Verlag. pp. 19-32.
    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 (...)
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  11.  87
    Picturing the Autobiographical Imagination: Emotion, Memory and Metacognition in Inside Out.Wyatt Moss-Wellington - 2021 - Film-Philosophy 25 (2):187-206.
    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 (...)
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