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The Narrative Strategy of Pixar
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This paper explores the narrative strategy of Pixar that leads to its commercial success and critical acclaim through its nine films from 1995 to 2008: Toy Story, A Bug’s Life, Toy Story 2, Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille and Wall․E. Pixar’s films show familiar characters to us such as toys, ants, fish, cars and rats, which are different from Disney’s characters, such as Cinderella and Snow White, whose motif comes from fairy tale and myth. And they are presented from a surprisingly different point of view, for example, from the toy’s point of view in Toy Story and Toy Story 2, and from the fish’s point of view in Finding Nemo. This kind of reverse way of thinking about characters is reflected not only in the presentation of unthinkable characters such as a rat, Remy, as a cook in a famous restaurant kitchen in Ratatouille but also in terms of the good and evil confrontation between characters which has been the main storyline in Disney movies. In Pixar’s films, the distinction between good and bad is not clear. For example, Sid in Toy Story is an evil character in the toys’ perspective but just a naughty boy like every other young boys in the real world. Pixar’s amazing success comes from the diverse plots. The only critical failure of Pixar, Cars ironically proves this. Cars’s main plot is quite clear: Lightning McQueen finally understands the importance of journey as well as that of destination. However, the subplots of this film, such as the love story of McQueen and Sally and the rebirth of the community, Radiator Springs, are not convincingly presented. Pixar’s films have been continuously improved partly due to Pixar’s studio system, which releases one film every year maintaining quality.
Abstract
This paper explores the narrative strategy of Pixar that leads to its commercial success and critical acclaim through its nine films from 1995 to 2008: Toy Story, A Bug’s Life, Toy Story 2, Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille and Wall․E. Pixar’s films show familiar characters to us such as toys, ants, fish, cars and rats, which are different from Disney’s characters, such as Cinderella and Snow White, whose motif comes from fairy tale and myth. And they are presented from a surprisingly different point of view, for example, from the toy’s point of view in Toy Story and Toy Story 2, and from the fish’s point of view in Finding Nemo. This kind of reverse way of thinking about characters is reflected not only in the presentation of unthinkable characters such as a rat, Remy, as a cook in a famous restaurant kitchen in Ratatouille but also in terms of the good and evil confrontation between characters which has been the main storyline in Disney movies. In Pixar’s films, the distinction between good and bad is not clear. For example, Sid in Toy Story is an evil character in the toys’ perspective but just a naughty boy like every other young boys in the real world. Pixar’s amazing success comes from the diverse plots. The only critical failure of Pixar, Cars ironically proves this. Cars’s main plot is quite clear: Lightning McQueen finally understands the importance of journey as well as that of destination. However, the subplots of this film, such as the love story of McQueen and Sally and the rebirth of the community, Radiator Springs, are not convincingly presented. Pixar’s films have been continuously improved partly due to Pixar’s studio system, which releases one film every year maintaining quality.
참고문헌 (16)
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