Walt’s Art History: Late Style, Digital Aesthetics and the ‘Disney Baroque’

Result code in IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216208%3A11320%2F25%3AIJBG8N6B" target="_blank" >RIV/00216208:11320/25:IJBG8N6B - isvavai.cz</a>

Result on the web

<a href="https://www.scopus.com/inward/record.uri?eid=2-s2.0-85150892324&doi=10.1177%2f17468477231155545&partnerID=40&md5=5f890e2e471ab5373bbdd1efeb99e6bb" target="_blank" >https://www.scopus.com/inward/record.uri?eid=2-s2.0-85150892324&doi=10.1177%2f17468477231155545&partnerID=40&md5=5f890e2e471ab5373bbdd1efeb99e6bb</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1177/17468477231155545" target="_blank" >10.1177/17468477231155545</a>

Result language

angličtina

Original language name

Walt’s Art History: Late Style, Digital Aesthetics and the ‘Disney Baroque’

Original language description

This article examines the critical and cultural framing of the Walt Disney Studio’s cel- and computer-animated feature films according to an enduring art-historical narrative. It traces the critical evolution and historical periodization of Disney animation from the 1930s and 1940s to the post-millennial period, arguing that the studio has often been understood according to ‘early, middle and late’ phases of production that are typically held as both complementary and in tension with each other. Supported by the well-established art-history vernacular that has defined discrete Disney eras, this article then argues for post-2012 Disney Feature Animation as an example of the studio’s ‘late style’ – a later phase not of transgression or alienation, but one that adheres to a more positivist mode that signals pleasurable formal dissidence, confident deformation, and artistic creativity. This article subsequently advances the term ‘Disney Baroque’ to describe such playful transformations of digital aesthetics and effects present across the studio’s nine features released between Wreck-It Ralph (Rich Moore, 2012) and Encanto (Jared Bush and Byron Howard, 2021), its longest run of computer-animated films. By sharpening contemporary Disney’s connections to the ahistorical or atemporal logic of Baroque theatricality, this article identifies how contemporary Disney animation engineers spectacular moments of upheaval that rest on specific Neo-Baroque qualities (concealment, illusionism, representationalism, polycentricism, seriality, the labyrinthine) in ways that further contribute to an understanding of Disney’s own internal history and critical periodicity. © The Author(s) 2023.

Czech name

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Czech description

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Type

J_SC - Article in a specialist periodical, which is included in the SCOPUS database

CEP classification

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OECD FORD branch

10201 - Computer sciences, information science, bioinformathics (hardware development to be 2.2, social aspect to be 5.8)

Project

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Continuities

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Publication year

2023

Confidentiality

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Name of the periodical

Animation

ISSN

17468477

e-ISSN

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Volume of the periodical

18

Issue of the periodical within the volume

1

Country of publishing house

US - UNITED STATES

Number of pages

18

Pages from-to

78 - 95

UT code for WoS article

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EID of the result in the Scopus database

2-s2.0-85150892324