Abstract
This paper discusses Pixar Animation Studios and profiles its history, management, market and prospects.

From the Paper
"Pixar Animation Studios is a highly successful company that owes much of its early success to its association with Disney studios. The company's stated objective is to combine proprietary technology and world-class creative talent to develop computer-animated feature films with memorable characters and heartwarming stories that appeal to audiences of all ages.
"Noted for its high-quality animation and engaging story lines, Pixar's computer-animated feature films include such favorites as "Toy Story", "Finding Nemo Cars" and "Wall-E", all films that arguably could not..."

Tags:Pixar, Disney, music industry, innovation

Abstract
The paper discusses the first feature-length cartoon film "The Adventures of Prince Achmed" that was made by the animator Lotte Reiniger, using cutout silhouette figures and a technique called stop-motion animation. The paper describes the film's creation, destruction in the war and subsequent restoration. The paper maintains that contemporary animators somehow fail to reproduce the same captivating magic that Reiniger achieved in this film.

From the Paper
"Animation is an art with a rich history of artists whose patience and attention to detail in their work has led to many timeless treasures of film for adults and children alike. These works have lasted through time from the 1930's to today, and are still enjoyed as if they were brand new. It is widely known that the first feature-length animated film was Walt Disney's 1937 film Snow White. It was the first commercially successful full-length animated film and the earliest that still exists entirely in its original form. However, a feature that pre-dates Snow White was made by an animator named Lotte Reiniger using cutout silhouette figures and a technique called stop-motion animation. This film was made in 1926 and is called The Adventures of Prince Achmed."

Tags:stop-motion, animation, silhouette, figures, musical, score, puppets

Abstract
This paper is a critique of Tim Burton's fantastical animated musical, "The Nightmare Before Christmas." It discusses the film's themes, imagery and use of music. The paper expands on the visual qualities of the film.

From the Paper
"This paper is a critique of Tim Burton's fantastical musical film, "The Nightmare Before Christmas" released by Touchstone Pictures. This stop-motion animation disguises a quite conventional story about conformity and keeping to the status quo as a tale of ..."

Tags:Burton, Elfman, Oogie Boogie, Thanatos

Abstract
To understand the question as to whether or not music has an effect upon performance in the workplace one must understand that music can and does have an effect (both positive and negative) upon the performance of anyone in any environment. Many studies have been completed that highlight the effects of music production upon the long-term educational process, of music listening and the types of music listened to on laboratory animals, adults, children, and even agricultural crops and house-plants. These studies have provided for a general consensus that music, the right music at the right volume, can help people relax, focus more intently upon their tasks, absorb material and information at a higher rate, and be, in general, more productive. The problem is, however, that what is and what is not conducive to work environments depends wholly upon the type of work being done, the personalities of the workers, and the level of flexibility offered by the employer in relation to the playing / listening to and of music while at work. What we can derive from these studies is that most businesses that do not require their workers to be in a constant state of intense communication that requires full attention for give and take in the conversation (i.e. phone service-related employees) that do provide for music in the workplace will find that workers are more prone to be productive. But, there is a caveat as stated previously - it depends upon the music itself and the relative receptiveness of the audience as to whether or not mass-music is appropriate or if individualized (i.e. headphones or speakers playing quietly at a desk) music playing is better. The wrong music / personality combination can result in negative results, greater levels of frustration and irritation, and lower levels of productivity.

From the Paper
"Walt Disney's 1939 animated feature Fantasia was a marriage of music and animation that drew upon all of the animation techniques in use at the time and that extended the range of the animated film to a great degree. Fantasia would also be a highly influential film, though it was not widely imitated as a feature film because of the cost and the uncertainty about whether commercial audiences would pay to see other animated films of this type. Classical music, after all, was not widely popular in the way other forms of music were then or now, and Fantasia had the advantage of being unique in its time. The most openly imitative feature to follow would come some time later with Allegro non Troppo by Italian animator Bruno Bozzetto in 1976. What was most influential about Fantasia and what would be imitated most by other filmmakers were some of the animation..."

Abstract
Max Hare and Toby Tortoise are just part of the early Disney cartoon cast, but, in the opinion of the paper's author, they are enduring because they possess universal appeal based on a number of positive factors. In the paper, the author examines and discusses these factors. The author attempts to show that a clear and succinct moral message is given by the cartoon which is echoed in many other Disney works. The writer also contends that the absence of violence in the cartoon is another feature that gives the film lasting value. The author of the paper also compares the cartoon's artwork, animation and music to modern cartoons in order to further demonstrate the long lasting, universal appeal of the film.

From the Paper
"For example, Toby falls for Max's well-known "psyche" gag where he is offered Max's hand to shake only to have him pull it back in a "thumbs-up" fashion not once but twice before the race even starts, and Max makes it clear from the outset who is going to win this race. The clearly established personalities of Toby Tortoise and Max Hare also contribute to this sense of who is going to win, but also help create a sense of an "under-tortoise" who deserves to win because he has the pluck even though the rabbit has the speed among viewers. These straightforward images of the bully and the bullied, the fast and the slow, the quick and the dull, are accompanied by a rich musical score (recorded by RCA Victor "High Fidelity" Sound System) and background scenery ("in Technicolor") throughout. According to Jacobs, the color in Disney's Silly Symphonies is seldom static: "As the characters fly, dance, run, or evolve into other shapes, the color too is animated, becoming sinister, gay, sanguine, or merely decorative, but always taking on a new hue with each of the emotional developments and moving with the images and sound.""

Tags:academy award, animation musical, silly symphonies, studios character pluto goofy, donald duck, fable moral

Abstract
This paper explains that, while "South Park" and Marilyn Manson are enjoyed by a largely overlapping population, these satirists use completely different methods: Manson works primarily in music and lyrics; "South Park" is based on animation and dialogue. The author points out that Marilyn Manson and "South Park" use their true artistry intelligence to communicate their social commentary following in the footsteps of past rebel-artists, such as Mozart, Nietzsche, and Orwell's "1984", all of whom were considered shocking in their day. The paper states that absurdity and profanity are literary techniques, which are used by the most educated of satirists; children in school read books, such as Toni Morrison's "Song of Solomon!" with its necrophiliac incest and urine fetishes and Homer's "Odysseus" with its mass murder, which are no less sources of immoral values than "South Park" is.

From the Paper
"Another media feeding-frenzy surrounds the ever-controversial cartoon "South Park". The same critiques that are applied to daytime talk show garbage is applied to this satirical comedy: "The very same stereotypes that have plagued both women and men for centuries are in full force...The profanity was so bad that many of the words had to be deleted." Yet the ever-complaining "family" organizations that knock "South Park" down to the level of Jerry Springer sewage programming have missed the point, and therefore validated it. "South Park" is satire, and largely misunderstood, just like Marilyn Manson. When the foul-mouthed cartoon children of South Park fling doo-doo, take drugs, kick the baby, or kill their best friend Kenny, it's not being serious."

Tags:satirists, critiques, profanity, commentary, footsteps

Abstract
This paper discusses how "Three Little Pigs" is a traditional tale of the 1800's which has been known for its valuable educational anecdote, teaching children morals through interesting stories. Originally written as "The Wolf and the Seven Young Kids" by Brothers Grimm, many different versions have been in production since. This paper looks at the 1933, Walt Disney animated classic cartoon version of "The Three Little Pigs" directed by Burt Gillett which includes positive and significant moral values aimed towards children. The paper compares it to another version of this story by Green Jelly and looks at how this musical rock track is a representation of possible wrongs that can go on with children in today's society. The paper also contends that although the two versions of the "Three Little Pigs" portray different moral characteristics, their content determines their target audiences which in turn will establish a discussion of their pros and cons.

From the Paper
"The Walt Disney production is a classic tale that endures the test of time. It is as fresh and watchable now as it was when first made and much more appealing to children. It positively characterizes the pigs and introduces the role of responsibility as they build an efficient home for security. The message of independence is clear here stating that hard work is always fairly rewarded. However, it is smart to say that a house needs to be well-built from the outset and should be strong enough to withstand any disaster, least of all the "Big Bad Wolf." On the other hand as the pigs group together to fight the wolf presents the importance of bonding and it goes to show that teamwork is known to be the optimum support when it comes to fighting life's battles. By his repeated statements of "then I'll huff and I'll puff and I'll blow your house in" the wolf he has no conscience nor cares in anyway regarding the consequences of his actions. In the end the wolf's falling into the hot boiling water with turpentine illustrates that unruly behavior is unacceptable and leads to a costly punishment. "

Tags:walt, disney, green, jelly, brothers, grimm

From the Paper
" Walt Disney's 1939 animated feature Fantasia was a marriage of music and animation that drew upon all of the animation techniques in use at the time and that extended the range of the animated film to a great degree. Fantasia would also be a highly influential film, though it was not widely imitated in terms of feature films because of the great expense involved and the uncertainties of a commercial audience for to many of this type of animated film. Classical music, after all, was not widely popular in the way other forms of music were then or now, and Fantasia had the advantage of being unique in its time. The most openly imitative feature to follow would come some time later with Allegro non Troppo by Italian animator Bruno Bozzetto in 1976. Bozzetto deliberately covers much of the same territory as he takes a satiric thrust at the earlier film, and the two films.."

Abstract
This paper examines the "Uhuru Africa" album by Randy Weston. Inspired by jazz legend Duke Ellington, Weston spent most of his career combining the rich music of the African continent with the African-American tradition of jazz. The author dissects Weston's "Africa" album -- which he calls a tribute to Ellington -- from its thematic and metaphoric perspectives, such as nature, animals, liberation, the past and the future. The author concludes by praising "Uhuru Africa" as Weston's jazz paean to Afro-American heritage and to Africa.

From the Paper
"This style inspired Randy Weston, whose use of both hands separately on the keyboard parallels a drummer's control of separate rhythms with each hand. Randy Weston spent most of his career combining the rich music of the African continent with the African American tradition of jazz, mixing the rhythms and melodies of both continents. Uhuru Africa is a tribute to Ellington, most particularly in the second movement, African Lady, a metaphor for Africa and the drum, which Ellington identified with a woman."

Tags:Duke, Ellington, Africa, jazz, music