This morning it was announced that Disney has released Frozen for digital downloading through iTunes. What makes this all the more astonishing is that the film remains in general release in cinemas and indeed, remains well inside the top 10; grossing over $4.5 million this past weekend. So why is Disney doing this now? Are they striking while the iron is still hot, or are other motives in play?
Over at Pando Daily, David Larkin has a really interesting piece about the intersection of art and business that is films and takes a look at how the increasing supply of films does not necessarily mean better films, or indeed, better returns. Animated films have always been few in number but recent years has seen an explosion in features with lots of success. With even more being announced, is it all for the best?
There’s an annual report called the Global Animation Industry Report: Strategies, Trends & Opportunities. I wrote about it last year, but since there’s a new report for 2014, I’m writing about it again. While the $5,000 price is a bit too steep for me, you can view the contents online for free, and that’s where one sub-heading picqued my interest: ‘Pixar’s Technological Advantage’. While that may have been true many years ago, does it still hold up?
Animation is a cultural thing, and like anything related to culture, there is national delineations and boundaries. For example, American animation is very, well, American. Canadaian animation is distinctly Canadian. Irish animation probably isn’t really coming from anywhere other than Ireland. And so on. However, the country of an animation’s origin is not the be all and end all of what it means to be animated.
It seems that the world and his dog is jumping into animation right now and while some are floundering, others are making a decent go of it. One of those with a surprise hit on their hands is the group behind The Nut Job. Despite mostly negative reviews, audiences seemed to like it and a […]
[box color=”blue” align=”center”]Are you receiving the only curated weekly newsletter of animation news and features? Sign up here![/box] In a brief, but all too painful and to-the-point post over on Tumblr, Keith Lango lays out what it means to create animation for mass consumption. It’s an eye-opener but one that could be said to be […]
You’ve probably already seen at least one of their videos, you know the kind. If something gets the ‘crazy Taiwanese animation treatment’ it’s guaranteed that Next Media Animation (NMA) are the ones behind it. So the animation itself isn’t going to win any awards, but what does the company get so right that they might?
Marketing and promotional art is a key piece of the entertainment puzzle and has been a feature of the promotion business since long before film. Film posters are an art in and of themselves, but as Bill Cunningham points out in a guest post over at Truly Free Film, they haven’t kept up with the times.
Almost all films are a commercial venture to some extent but not all are created equal, as the films of Hayao Miyazaki and Disney demonstrate. Both make successful films, but only one does it to genuinely tell stories.
Female characters often have a tough time with variety. While there is plenty of debate and discussion surrounding the prevalence of stereotypes that send poor messages to viewers, there is something else that is completely overlooked. Dave Pressler ponders the interesting question of why female characters are often forced too look feminine by executives.
Time for a quick and really simply quiz, and yes, it’s on that Powerpuff Girls comic cover that was yanked last week.