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"Disney stories : getting to digital explains how new film and animation techniques, many developed by Disney, worked together to evolve character and content development and produce entertaining stories that riveted audiences."

"ABSTRAK

Pengalaman arsitektur adalah sensasi yang dirasakan dalam suatu ruang baik secara temporer maupun permanen. Beberapa ruang dapat menghadirkan kejadian-kejadian masa lalu atau membawa kita ke tempat yang hanya ada dalam imajinasi. Topik ini akan membahas bagaimana imajinasi kerekayasaan cara Disney (Walt Disney Imagineering) menciptakan sebuah pengalaman yang mengesankan pada tempat hiburan dimana mendongeng merupakan prinsip utama dalam mendesain ruang. Dengan mengambil beberapa contoh taman hiburan Disney, dapat digambarkan bagaimana setiap taman hiburan memiliki persamaan dan juga perbedaan yang khas. Dalam analisis ini, suatu pengalaman dapat tercapai jika penggunanya dapat mempersepsikan ilusi sebuah taman hiburan yang menimbulkan perasaan nostalgia dan takjub.

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ABSTRACT

Experience in architecture is a sensation in which some spaces could trigger childhood memories, while some can become places from the imagination. This topic will focus on how Walt Disney Imagineering create memorable experience in the theme parks through its importance on storytelling that became the primary basis of creation. By looking at some of the Disney theme parks, it will give an image of how each park is distinct yet have some similarities to each other. From this analysis, experience is achieved when its user is able to perceive illusions inside the theme parks that evokes both nostalgia and wonder.

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""In The Disney Way: Harnessing the Management Secrets of Disney in Your Company, Bill Capodagli and Lynn Jackson, Fortune 100 consultants with clients throughout the world, examine Disney's business philosophy and explain how it can be used in any company to achieve superior team-work, creativity, and innovation. The authors introduce four principles - Dream, Believe, Dare, and Do - and reveal how these ideas drive the ten principles that are at the heart of every Disney strategy. Each principle is then examined in detail by illustrating the principle at work at Disney as well as at other successful companies."--BOOK JACKET."In this book, you'll learn how to give every member of your organization the chance to dream, and tap into the creativity those dreams embody; treat your customers like guests; build long-term relationships with key suppliers and partners; dare to take calculated risks in order to bring innovative ideas to fruition; and align long-term vision with short-term execution."--BOOK JACKET."

"Dongeng karya Grimm bersaudara telah banyak diadaptasi kedalam dunia film, salah satunya adalah "Snow White". Penelitian ini membahasa distorsi yang muncul dalam dua film adaptasi "Snow White", yaitu "Snow White and the Seven Dwarf" (1937) produksi Disney..."

""Brave" adalah sebuah film animasi komputer dari Amerika yang bertemakan fantasi komedi yang diproduksi oleh Pixar Animation Studios dan di diterbitkan oleh Walt Disney Pictures pada tahun 2012. Film ini berbeda dari cerita fairy tales klasik. Film ini mempresentasikan perempuan sebagai tokoh utama. Masalah yang akan dibahas di sini adalah bagaimana tokoh-tokoh perempuan direpresentasikan dalam film "Brave". Penelitian ini menggunakan semiotik dan kode televisi oleh John Fiske. Beberapa subtema yang digunakan adalah feminism dalam kekuatan, feminism dalam kepemimpinan, feminism dalam stereotip, feminism dalam karakterisasi, dan feminism dalam kebebasan. Lebih lanjjut lagi, film ini menunjukan beberapa perubahan mendasar dari stereotip film Disney.

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"Brave" is an American computer-animated fantasy comedy film produced by Pixar Animation Studios and released by Walt Disney Pictures in 2012. This film is different from classic fairy tales. This film represented a tough woman as the main character. The problem that will be discussed here is how the female characters are represented in "Brave". This study uses semiotics, particularly codes of television by John Fiske. Subthemes are used to analyze feminism in power, feminism in leadership, feminism in stereotypes, feminism in characterization, and feminism in freedom. The conclusion of this study is that the film contains feminism in power, leadership, stereotypes, characterization, and freedom. Furthermore, this film shows some basic changes from the common stereotype of Disney movie."

"Dalam diskursus yang ada di sekitar tokoh penjahat wanita Disney, sering kali karakteristik yang mereka miliki diatribusikan kepada faktor identitas di luar keperempuanan mereka, karena karakteristik-karakteristik ini dinilai terlalu maskulin untuk dimiliki seorang perempuan. Subjektivitas, karakteristik penting yang ada di setiap tokoh penjahat perempuan Disney, adalah salah satunya. Dengan membahas film animasi Disney Cinderella (1950) dan Snow White and the Seven Dwarfs (1937) dan membandingkan naratif yang ada di sekitar karakter-karakter antagonis mereka dengan mitos Lilith, artikel ini berargumen bahwa meski subjektifitas adalah sebuah sebuah karakteristik yang hadir berdampingan dengan keperempuanan sejak dahulu kala dalam figur-figur perempuan, subjektivitas tetap menjadi suatu karakteristik yang tidak diterima untuk dimiliki perempuan. Sama seperti Lilith, karakter-karakter perempuan Disney yang menunjukkan subjektivitas tinggi sering dicap buruk karena status subjek mereka dan tidak bertindak sebagai penerima pasif dari jalannya takdir. Ditambah lagi, naratif-naratif ini terlihat mendukung anggapan bahwa perempuan tidak dapat memiliki tanggung jawab yang diperlukan sebuah individu dengan status subjek.

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In the discourse surrounding Disney villainesses, it is often believed that female antagonists owe their characteristics to identities outside of their femaleness, due to the understanding that they own traits deemed too ‘masculine’ for women. Subjectivity, a defining trait present in every single one of the Disney villainesses, is one of them. Examining the animated Disney movies Cinderella (1950) and Snow White and the Seven Dwarfs (1937), and comparing the narratives surrounding their antagonists to the myth of Lilith, this article argues that while subjectivity is a trait that have always coexisted with femininity in women since the very beginning of time, subjectivity is still a trait not accepted in women. Just as the case with Lilith, Disney’s female characters with strong displays of subjectivity are often vilified for displaying their subjective status instead of acting as passive recipients to the dealings of fate. Additionally, the narratives seem to reinforce the notion that these subjective females are incapable of handling the responsibility that comes with their subject status."

"Sebagai industri pembuatan film yang semakin dinamis, Disney Animation perlu terus beradaptasi dan menyusun diri sebagai organisasi dengan cara yang dapat memfasilitasi keefektifan dan inovasi organisasi mereka. Keterampilan kepemimpinan dan perubahan dalam struktur organisasi perlu disesuaikan untuk membantu mendorong Disney Animation ke dalam peningkatan keefektifitas menuju visi mereka. Perubahan ini dapat menghasilkan masa kerja yang panjang dan meningkatkan keterlibatan karyawan.

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As an increasingly dynamic filmmaking industry, Disney Animations needs to constantly adapt and structure themselves in ways that facilitate their organisational effectiveness and innovations. Core leadership skills, structural changes and effective senior management will need to be constantly adapted to help push towards their vision. These changes were able to result in long tenure and increases employee engagement."