Atnaujinkite slapukų nuostatas

El. knyga: Disney Stories: Getting to Digital

3.78/5 (10 ratings by Goodreads)
  • Formatas: PDF+DRM
  • Išleidimo metai: 20-Oct-2020
  • Leidėjas: Springer Nature Switzerland AG
  • Kalba: eng
  • ISBN-13: 9783030427382
  • Formatas: PDF+DRM
  • Išleidimo metai: 20-Oct-2020
  • Leidėjas: Springer Nature Switzerland AG
  • Kalba: eng
  • ISBN-13: 9783030427382

DRM apribojimai

  • Kopijuoti:

    neleidžiama

  • Spausdinti:

    neleidžiama

  • El. knygos naudojimas:

    Skaitmeninių teisių valdymas (DRM)
    Leidykla pateikė šią knygą šifruota forma, o tai reiškia, kad norint ją atrakinti ir perskaityti reikia įdiegti nemokamą programinę įrangą. Norint skaityti šią el. knygą, turite susikurti Adobe ID . Daugiau informacijos  čia. El. knygą galima atsisiųsti į 6 įrenginius (vienas vartotojas su tuo pačiu Adobe ID).

    Reikalinga programinė įranga
    Norint skaityti šią el. knygą mobiliajame įrenginyje (telefone ar planšetiniame kompiuteryje), turite įdiegti šią nemokamą programėlę: PocketBook Reader (iOS / Android)

    Norint skaityti šią el. knygą asmeniniame arba „Mac“ kompiuteryje, Jums reikalinga  Adobe Digital Editions “ (tai nemokama programa, specialiai sukurta el. knygoms. Tai nėra tas pats, kas „Adobe Reader“, kurią tikriausiai jau turite savo kompiuteryje.)

    Negalite skaityti šios el. knygos naudodami „Amazon Kindle“.

The second edition of Disney Stories: Getting to Digital will be of interest to lovers of Disney history and also to lovers of Hollywood history in general. The first edition was planned as a short history of the companies evolution from analog storytelling to a digital online presence that closed the chapter on early Disney films with the release of the groundbreaking Snow White. The purpose of the new edition is to bring to readers a more complete view of the analog-digital story by including three new chapters on film that cover key developments from the live-animation hybrids of the 1940s to CAPS and CGI in the 1990s and VR in the 2010s. It also includes in the discussion of cross-media storytelling the acquisition of the exceptional story property, Star Wars, and discusses how Disney has brought the epic into the Disney Master Narrative by creating Galaxy’s Edge in its US theme parks.

Krystina Madej’s engaging portrayal of the long history of Disney’s love affair with storytelling and technology brings to life the larger focus of innovation in creating characters and stories that captivate an audience, and together with Newton Lee’s detailed experience of  Disney during the crucial 1995-2005 era when digital innovation in online and games was at its height in the company, makes for a fast-paced captivating read.

Disney Stories first edition explored the history of Disney, both analog and digital. It described in detail how Walt Disney used inventive and often ground-breaking approaches in the use of sound, color, depth, and the psychology of characters to move the animation genre from short visual gags to feature-length films with meaningful stories that engaged audience's hearts as well as tickled their funny bones. It showed Walt’s comprehensive approach to engaging the public across all media as he built the Disney Master Narrative by using products, books, comics, public engagements, fan groups such as the Mickey Mouse club, TV, and, of course, Disneyland, his theme park. Finally it showed how, after his passing, the company continued to embrace Walt’s enthusiasm for using new technology to engage audiences through their commitment to innovation in digital worlds. It describes in detail the innovative storybook CD-ROMs, their extensive online presence, the software they used and created for MMORGs such as Toontown, and the use of production methods such as agile methodology. This new edition provides insight on major developments in Disney films that moved them into the digital world.

1 Introduction: Stories Across Media
1(10)
1.1 From There to Here: The Beginning of Interactive Stories
1(1)
1.2 Stories and Communicating
2(2)
1.3 Our Story
4(3)
1.4 Disney Stories
7(4)
Part I From Gags to Stories
2 Early Animation: Gags and Situations
11(12)
2.1 Life Experience, Joy of Entertainment, Love of Drawing
11(2)
2.2 Becoming an Animator
13(1)
2.3 Getting into the Business of Animation
13(3)
2.4 Laugh-O-Grams
16(1)
2.5 Production and Story Techniques
17(3)
2.6 Cracking the Market
20(3)
3 From Gags to Characters
23(10)
3.1 A New Animated Experience for the Audience
23(3)
3.2 Renewed Focus on Animation
26(3)
3.3 Creating a Character with Personality
29(2)
3.4 Progress: 1923 to 1928: 57 Alice's Adventures Shorts Followed by 26 Oswald Shorts
31(2)
4 Synchronizing Sound and Character
33(10)
4.1 From Silent to Talkie
33(2)
4.2 Inventing Sound Production
35(2)
4.3 Strategies to Build Character
37(3)
4.4 Silly Symphonies: Setting Animation to Music
40(1)
4.5 Commitment to Improvement
41(1)
4.6 Sound and Character
42(1)
5 Drawing and Color: The Language of Realism
43(10)
5.1 Pencil Tests and Overlapping Action
43(2)
5.2 Gags to Story
45(2)
5.3 Introducing Color
47(1)
5.4 The Language of Color
48(4)
5.5 Drawing, Color, and Story
52(1)
6 Capturing Life in Animated Film
53(10)
6.1 Creating Believable Personalities
53(2)
6.2 The Challenge of Snow White
55(3)
6.3 Multiplane Camera
58(1)
6.4 The Old Mill
59(2)
6.5 Snow White's Success
61(2)
7 Learning to Navigate Features
63(10)
7.1 Mickey's Dilemma
64(2)
7.2 From The Concert Feature to Fantasia
66(2)
7.3 Pinocchio
68(2)
7.4 Dumbo
70(1)
7.5 Bambi
71(2)
8 Live Action and Animation Hybrids
73(12)
8.1 Live Action Animation
73(1)
8.2 Package Films: Silly Symphonies' Successors
74(1)
8.3 The Three Caballeros
75(2)
8.4 Song of the South
77(2)
8.5 So Dear To My Heart
79(1)
8.6 Mary Poppins
80(3)
8.7 Who Framed Roger Rabbit
83(2)
9 CAPS, CGI and the Movies
85(26)
9.1 From Hand-Painted Cels and Multi-plane Cameras to CAPS
85(1)
9.2 The Road to CAPS and CGI
86(1)
9.3 CAPS
87(3)
9.4 Early CGI at Disney
90(3)
9.5 TRON
93(2)
9.6 Computers Are People Too
95(1)
9.7 Where the Wild Things Are
96(1)
9.8 Black Cauldron and The Great Mouse Detective
96(2)
9.9 Beauty and the Beast
98(1)
9.10 Lion King
99(1)
9.11 Connecting with Pixar
100(2)
9.12 Toy Story, Disney's Digital Leap
102(3)
9.13 After Toy Story: New Lighting Technology
105(1)
9.14 Virtual Reality
106(1)
9.15 Live Action, Photorealistic Remakes
107(1)
9.16 Going On to Walt's Master Narrative
108(3)
Part II From Watching to Experiencing Across Media
10 Creating the Disney Master Narrative
111(12)
10.1 Establishing a Cultural Icon Within Popular Culture
111(2)
10.2 The Disney Master Narrative and Popular Culture
113(3)
10.2.1 Merchandising
113(1)
10.2.2 The Road Show
114(2)
10.3 The Original Mickey Mouse Club
116(7)
10.3.1 Radio? An Advertising But Not Story Medium for Mickey
120(1)
10.3.2 Television
121(2)
11 Engaging Audiences Across Media
123(16)
11.1 Transmedia
123(1)
11.2 Comics
124(1)
11.3 Books
125(3)
11.4 A Little Pop-Up History
128(2)
11.5 Disneyland
130(1)
11.6 The Disneyland Stories
131(1)
11.7 Preliminary Story Planning
132(1)
11.8 Mainstreet, U.S.A.
133(6)
Part III From Interacting to Creating and Sharing
12 Animated Storybooks and Activity Centers
139(8)
12.1 Arcade Game to Story Game
139(2)
12.2 "A Story Waiting for You to Make it Happen": The Synergy of Story and Game Technology
141(1)
12.3 Along Came Simba
142(5)
13 Going Online: A Personal Theme Park
147(8)
13.1 Taking Disney's World Online
147(3)
13.2 A Range of Engaging Activities Within a Disney World
150(4)
13.3 Reaching Wider Audiences with New Forms
154(1)
14 Development Cycle: Games
155(18)
14.1 The Disney Online Development Process
155(3)
14.2 Prototyping: A Narrative Game
158(1)
14.3 Story Supports Game Activities
158(2)
14.3.1 P.I. Mickey Storyboards 1--8
159(1)
14.3.2 Gameplay
160(1)
14.4 Edutainment
160(3)
14.5 Disney Edutainment
163(1)
14.6 Hot Shot Business
163(4)
14.7 Squeak: An Interview with Alan Kay
167(1)
14.8 Purchased Games
168(2)
14.9 Kingdom Hearts
170(3)
15 Development Cycle: Quality and Feedback
173(10)
15.1 Developing a Community-Based Musical Activity
173(2)
15.2 Quality Assurance and Software Testing
175(4)
15.3 Focus Groups and Guest Feedback
179(3)
15.4 New Directions
182(1)
16 MMORPGs: Player-to-Player Interaction
183(16)
16.1 Initial Steps
183(1)
16.2 Chat Studio: The First Disney Virtual Community
184(1)
16.3 Multiplayer Jabber Flash Games
185(2)
16.4 Massive Multiplayer Online Games (MMOGs)
187(4)
16.4.1 Toontown Online
190(1)
16.5 Toontown's Backstory
191(1)
16.6 Becoming a Toon
192(1)
16.7 Safe and Friendly Socializing
192(2)
16.8 Collecting and Cooperating to Save Toontown
194(1)
16.9 Panda: The Little Engine that Could
194(1)
16.10 Toontown Online: A Work in Progress
195(4)
17 Online Worlds and Cross-Media Engagement
199(1)
17.1 Online Theme Park: Pirates of the Caribbean
199(3)
17.2 Pirates Story and Gameplay
202(1)
17.3 Making the Story "Their Own"
203(3)
17.4 Star Wars Cross-Media
206(2)
Correction to: Disney Stories 1(208)
Addendum I 209(4)
Addendum II 213(8)
Bibliography 221(10)
Index 231
Dr. Krystina Madej is an author, speaker, and Professor of the Practice at Georgia Tech, Atlanta. At Tech since 2011, she teaches about and researches how humans have adapted their narratives to changing media throughout the centuries, physical play and children's interaction with digital games that are based in narrative, and in Disney's approach to stories across media since the 1920s. Adjunct Professor with the School for Interactive Art and Technology (SIAT) at Simon Fraser University, Vancouver, for ten years, she taught as Visiting Professor for the Center for Digital Media's Masters degree program.  She is research faculty at University of Lower Silesia, Wroclaw, Poland where as Visiting Professor she teaches Disney History and Childrens Game Design for the Erasmus Program and  Design Thinking and History of Social Media for the Big Data, Digital Media, and Trendwatching Masters Program. Prior to returning to academia in 1999, she was principal of a communications and design firm for 15 years, where, as design strategist, she planned and created successful branding programs and exhibits for government, business, industry, and museums.





Newton Lee is an author, educator, and futurist. He was the founder of Disney Online Technology Forum, creator of AT&T Bell Labs' first-ever commercial artificial intelligence tool, inventor of the world's first annotated multimedia OPAC for the U.S. National Agricultural Library, and longest serving editor-in-chief in the history of the Association for Computing Machinery for its publication Computers in Entertainment (20032018).  Lee is the chairman of the California Transhumanist Party, education and media advisor to the United States Transhumanist Party, and president of the 501(c)(3) nonprofit Institute for Education, Research, and Scholarships. He graduated Summa Cum Laude from Virginia Tech with a B.S. and M.S. degree in Computer Science (specializingin Artificial Intelligence), and he earned a perfect GPA from Vincennes University with an A.S. degree in Electrical Engineering and an honorary doctorate in Computer Science. He has been honored with a Michigan Leading Edge Technologies Award, two community development awards from the California Junior Chamber of Commerce, and four volunteer project leadership awards from The Walt Disney Company.