Visar resultat för..."Lucasfilm Press"

Get to know the galaxy's greatest heroes and villains in this Star Wars board book.Princess Leia is a brave leader. Darth Vader is a sinister villain. Meet the most popular characters from the Star Wars original trilogy in this vibrant board book! Star Wars fans can introduce their tiniest younglings to their favorite characters through simple text paired with a kid-friendly illustration style.

Studios are, at once, material environments and symbolic forms, sites of artistic creation and physical labor, and nodes in networks of resource circulation. They are architectural places that generate virtual spaces—worlds built to build worlds. Yet, despite being icons of corporate identity, studios have faded into the background of critical discourse and into the margins of film and media history. In response, In the Studio demonstrates that when we foreground these worlds, we gain new insights into moving-image culture and the dynamics that quietly mark the worlds on our screens. Spanning the twentieth century and moving globally, this unique collection tells new stories about studio icons—Pinewood, Cinecittà, Churubusco, and CBS—as well as about the experimental workplaces of filmmakers and artists from Aleksandr Medvedkin to Charles and Ray Eames and Hollis Frampton.

Studios are, at once, material environments and symbolic forms, sites of artistic creation and physical labor, and nodes in networks of resource circulation. They are architectural places that generate virtual spaces—worlds built to build worlds. Yet, despite being icons of corporate identity, studios have faded into the background of critical discourse and into the margins of film and media history. In response, In the Studio demonstrates that when we foreground these worlds, we gain new insights into moving-image culture and the dynamics that quietly mark the worlds on our screens. Spanning the twentieth century and moving globally, this unique collection tells new stories about studio icons—Pinewood, Cinecittà, Churubusco, and CBS—as well as about the experimental workplaces of filmmakers and artists from Aleksandr Medvedkin to Charles and Ray Eames and Hollis Frampton.

Over the past century, Disney has grown from a small American animation studio into a multipronged global media giant. Today, the company’s annual revenue exceeds the GDP of over 100 countries, and its portfolio has grown to include Pixar, Marvel, Lucasfilm, ABC, and ESPN. With a company so diversified, is it still possible to identify a coherent Disney vision or message?Disney Culture proposes that there is still a unifying Disney ethos, one that can be traced back to the corporate philosophy that Walt Disney himself developed back in the 1920s. Yet, as cultural historian John Wills demonstrates, Disney’s values have also adapted to changing social climates. At the same time, the world of Disney has profoundly shaped how Americans view the world.Wills offers a nuanced take on the corporate ideologies running through animated and live-action Disney movies from Frozen to Fantasia, from Mary Poppins to Star Wars: The Force Awakens. But Disney Culture encompasses much more than just movies as it explores the intersections between Disney’s business practices and its cultural mythmaking.  Welcome to “the Disney Way.”

Over the past century, Disney has grown from a small American animation studio into a multipronged global media giant. Today, the company’s annual revenue exceeds the GDP of over 100 countries, and its portfolio has grown to include Pixar, Marvel, Lucasfilm, ABC, and ESPN. With a company so diversified, is it still possible to identify a coherent Disney vision or message?Disney Culture proposes that there is still a unifying Disney ethos, one that can be traced back to the corporate philosophy that Walt Disney himself developed back in the 1920s. Yet, as cultural historian John Wills demonstrates, Disney’s values have also adapted to changing social climates. At the same time, the world of Disney has profoundly shaped how Americans view the world.Wills offers a nuanced take on the corporate ideologies running through animated and live-action Disney movies from Frozen to Fantasia, from Mary Poppins to Star Wars: The Force Awakens. But Disney Culture encompasses much more than just movies as it explores the intersections between Disney’s business practices and its cultural mythmaking.  Welcome to “the Disney Way.”

Politics, craft, and cultural nostalgia in the remaking of Star Wars for a new ageA long time ago, in a galaxy far, far away-way back in the twenty-first century’s first decade-Star Wars seemed finished. Then in 2012 George Lucas shocked the entertainment world by selling the franchise, along with Lucasfilm, to Disney. This is the story of how, over the next five years, Star Wars went from near-certain extinction to what Wired magazine would call “the forever franchise,” with more films in the works than its first four decades had produced. Focusing on The Force Awakens (2015), Rogue One (2016), The Last Jedi (2017), and the television series Rebels (2014–18), Dan Golding explores the significance of pop culture nostalgia in overcoming the skepticism, if not downright hostility, that greeted the Star Wars relaunch. At the same time he shows how Disney, even as it tapped a backward-looking obsession, was nonetheless creating genuinely new and contemporary entries in the Star Wars universe.A host of cultural factors and forces propelled the Disney-engineered Star Wars renaissance, and all figure in Golding’s deeply informed analysis: from John Williams’s music in The Force Awakens to Peter Cushing’s CGI face in Rogue One, to Carrie Fisher’s passing, to the rapidly changing audience demographic. Star Wars after Lucas delves into the various responses and political uses of the new Star Wars in a wider context, as in reaction videos on YouTube and hate-filled, misogynistic online rants. In its granular textual readings, broad cultural scope, and insights into the complexities of the multimedia galaxy, this book is as entertaining as it is enlightening, an apt reflection of the enduring power of the Star Wars franchise.

Star Wars may have started out as a film about a Manichean battle between good and evil, but as countless filmmakers, novelists, animators, fan artists and even cosplayers have taken the opportunity to play in the fictional world George Lucas created, it has expanded into something far greater, resulting in a richly layered and diverse Star Wars multiverse.   Drawing from a full range of Star Wars media, including comics, children's books, fan films, and television shows like Clone Wars and The Mandalorian, Carmelo Esterrich explores how these stories set in a galaxy far far away reflect issues that hit closer to home. He examines what they have to say about political oppression, authoritarianism, colonialism, discrimination, xenophobia, and perpetual war. Yet he also investigates subtler ways in which the personal is political within the multiverse, including its articulations of gender and sexuality, its cultural hierarchies of language use, and its complex relationships between humans, droids and myriad species. This book demonstrates that the Star Wars multiverse is not just a stage for thrilling interstellar battles, but also an exciting space for interpretation and discovery.