Pixar Animation Studios Film Disney Terbaik
rekomendasi film Disney kartun terbaru tahun 2023
Disney, sebagai salah satu studio film animasi terbesar di dunia, selalu menghadirkan karya-karya baru yang dinanti-nanti oleh para penggemarnya. Pada tahun 2023, Disney akan kembali merilis dua film animasi terbaru yang tidak kalah serunya dengan film-film animasi sebelumnya.
Berikut ini kedua rekomendasi film Disney kartun terbaru tahun 2023 ini.
Wish merupakan film animasi musikal tahun 2023. Asha yang berusia 17 tahun dan kambingnya Valentino menavigasi Rosas, kerajaan keinginan, tempat keinginan benar-benar bisa menjadi kenyataan.
Film ini disutradarai oleh Chris Buck dan Fawn Veerasunthom dari Walt Disney Animation Studios. Sementara naskah film ditulis oleh Chris Buck dan Jennifer Lee.
Ember berasal dari elemen api yang membara, sedangkan Wade berasal dari elemen air yang tenang. Meskipun memiliki perbedaan sifat dan karakter, keduanya saling tertarik dan jatuh cinta.
Ember dan Wade menemukan makna bahwa meskipun mereka berasal dari elemen yang berbeda, mereka saling memberikan inspirasi dan saling menguatkan satu sama lain untuk mempertahankan cinta mereka
Film-film kartun Disney telah menjadi tontonan yang populer dan dicintai oleh banyak orang dari berbagai kalangan usia. Kualitas cerita dan animasi yang dihadirkan oleh Disney dalam film-film kartun mereka membuat penggemar film animasi selalu menantikan karya terbaru dari studio ini.
Dari daftar 35 film kartun Disney terbaik rating tertinggi sepanjang masa di atas, pastinya ada beberapa film yang menjadi favorit Bunda. Jadi jangan ragu untuk menonton ulang ya Bunda.
Rekomendasi film Disney terbaik buat belajar bahasa Inggris yang cocok untuk level pemula. Every person has their own way to learn something. Hal ini juga berlaku buat orang-orang yang lagi belajar bahasa Inggris. Ada orang yang bisa belajar bahasa Inggris lewat buku, dengan ikut les, dan ada juga orang yang bisa belajar lewat tontonan kayak film.
Banyak lho ternyata orang-orang yang bisa jago bahasa Inggris karena nonton. For example, ada Namjoon a.k.a RM BTS. Kalau di interview, RM sering ngasih tau rahasianya bisa jago bahasa Inggris karena sering nonton sitkom Friends.
Nah, nggak cuma Namjoon aja lho yang bisa jago bahasa Inggris dari nonton film, kamu pun juga bisa. Di artikel ini, Englihvit bakal ngasih kamu 10 rekomendasi film Disney yang cocok buat pemula. Kenapa harus film Disney sih? Kita pilih film dari Disney karena vocab yang dipakai cukup mudah untuk dipahami oleh pemula.
Penasaran apa aja film yang bakal cocok buat pemula? Check it out!
Who Framed Roger Rabbit (1988)
Eddie Valiant dipekerjakan oleh produser kartun R.K. Maroonn untuk menyelidiki permasalahan yang melibatkan Jessica. Namun ia justru terjebak bersama Roger rabbit.
Keduanya memutuskan untuk bekerja sama menyelesaikan kasus besar yang melibatkan pemilik Toontown, yang ditemukan terbunuh.
Fantasia adalah sebuah film yang berisi Delapan segmen yang berbeda dari animasi Disney. Di antaranya terdiri dari Toccata and Fugue, The Nutcracker Suite, The Sorcerer’s Apprentice, Rite of Spring, Meet the Soundtrack, The Pastoral Symphony, Dance of the Hours, Night on Bald Mountain.
Meskipun tidak memiliki alur cerita yang jelas namun film ini disebut-sebut menampilkan karya-karya terbaik pada masanya.
Turning Red (2022)
Mei Lee, anak berusia tiga belas tahun yang selalu menurut kepada ibundanya secara tak sengaja berselisih dengan sang ibunda. Ia memendam amarah karena tidak merasakan kebebasan sebagai seorang remaja.
Mei Lee menjadi sosok yang selalu bersembunyi melakukan sesuatu karena takut ketahuan sang ibunda. Ia kemudian menjadi sosok besar berwarna merah karena keturunan dari keluarganya.
(2022) /Foto: Disney Pixar
Penjaga ruang angkasa legendaris Buzz Lightyear dari animasi Toy Story, memulai petualangannya di intergalaksi bersama teman-temanya Izzy, Mo, Darby, dan Sox. Saat timnya sedang menangani misi terberat, mereka harus belajar bekerja sama sebagai tim untuk melarikan diri dari sosok Zurg yang jahat dan pasukan robotnya yang patuh dan mematikan.
–1999: End of the Disney Renaissance and declining returns
Concerns arose internally at the Disney studio, particularly from Roy E. Disney, about studio chief Jeffrey Katzenberg taking too much credit for the success of Disney's early 1990s releases.[103] Disney Company president Frank Wells was killed in a helicopter accident in 1994, and Katzenberg lobbied CEO Michael Eisner for the vacant president position. Instead, tensions between Katzenberg, Eisner and Disney resulted in Katzenberg being forced to resign from the company on August 24 of that year,[153] with Joe Roth taking his place.[153] On October 12, 1994, Katzenberg went on to become one of the founders of DreamWorks SKG, whose animation division became Disney's key rival in feature animation,[133][154] with both computer animated films such as Antz (1998) and traditionally-animated films such as The Prince of Egypt (1998).[152] In December 1994, the Animation Building in Burbank was completed for the animation division.[155]
In contrast to the early 1990s productions, not all the films in the second half of the renaissance were successful. Pocahontas, released in summer of 1995, was the first film of the renaissance to receive mixed reviews from critics, but was still popular with audiences and commercially successful, earning $346 million worldwide,[156] and won two Academy Awards for its music by Alan Menken and Stephen Schwartz.[157] The next film, The Hunchback of Notre Dame (1996) was partially produced at the Paris studio[143] and, although it is considered Disney's darkest film, The Hunchback of Notre Dame performed better critically than Pocahontas and grossed $325 million worldwide.[158] The following summer, Hercules (1997) did well at the box office, grossing $252 million worldwide, but underperformed in comparison to Disney's previous films.[159] It received positive reviews for its acting but the animation and music were mixed.[160] Hercules was responsible for beginning the decline of traditionally-animated films. The declining box office success became doubly concerning inside the studio as wage competition from DreamWorks had significantly increased the studio's overhead,[115][133] with production costs increasing from $79 million in total costs (production, marketing, and overhead) for The Lion King in 1994 to $179 million for Hercules three years later.[154] Moreover, Disney depended upon the popularity of its new features in order to develop merchandising, theme park attractions, direct-to-video sequels and television programming in its other divisions.[133] The production schedule was scaled back[154] and a larger number of creative executives were hired to more closely supervise production, a move that was not popular among the animation staff.[133][161][162]
Mulan (1998), the first film produced primarily at the Florida studio,[163] opened to positive reviews from audiences and critics and earned a successful $305 million at the worldwide box office, restoring both the critical and commercial success of the studio. The next film, Tarzan (1999), directed by Kevin Lima and Chris Buck, had a high production cost of $130 million,[154] again received positive reviews and earned $448 million at the box office.[164] The Tarzan soundtrack by pop star Phil Collins resulted in significant record sales and an Academy Award for Best Song.[165]
–1929: Early years
Kansas City, Missouri, natives Walt Disney and Roy O. Disney founded Disney Brothers Cartoon Studio in Los Angeles in 1923 and got their start producing a series of silent Alice Comedies short films featuring a live-action child actress in an animated world.[20] The Alice Comedies were distributed by Margaret J. Winkler's Winkler Pictures, which later also distributed a second Disney short subject series, the all-animated Oswald the Lucky Rabbit, through Universal Pictures starting in 1927.[20][21] Upon relocating to California, the Disney brothers initially started working in their uncle Robert Disney's garage at 4406 Kingswell Avenue in the Los Feliz neighborhood of Los Angeles, then, in October 1923, formally launched their studio in a small office on the rear side of a real estate agency's office at 4651 Kingswell Avenue. In February 1924, the studio moved next door to office space of its own at 4649 Kingswell Avenue. In 1925, Disney put down a deposit on a new location at 2719 Hyperion Avenue in the nearby Silver Lake neighborhood, which came to be known as the Hyperion Studio to distinguish it from the studio's other locations, and, in January 1926, the studio moved there and took on the name Walt Disney Studio.[22]
Meanwhile, after the first year's worth of Oswalds, Walt Disney attempted to renew his contract with Winkler Pictures, but Charles Mintz, who had taken over Margaret Winkler's business after marrying her, wanted to force Disney to accept a lower advance payment for each Oswald short. Disney refused and, as Universal owned the rights to Oswald rather than Disney, Mintz set up his own animation studio to produce Oswald cartoons. Most of Disney's staff was hired away by Mintz to move over once Disney's Oswald contract expired in mid-1928.[23]
Working in secret while the rest of the staff finished the remaining Oswalds on contract, Disney and his head animator Ub Iwerks led a small handful of loyal staffers in producing cartoons starring a new character named Mickey Mouse.[24] The first two Mickey Mouse cartoons, Plane Crazy and The Galloping Gaucho, were previewed in limited engagements during the summer of 1928. For the third Mickey cartoon, however, Disney produced a soundtrack, collaborating with musician Carl Stalling and businessman Pat Powers, who provided Disney with his bootlegged "Cinephone" sound-on-film process. Subsequently, the third Mickey Mouse cartoon, Steamboat Willie, became Disney's first cartoon with synchronized sound and was a major success upon its November 1928 debut at the West 57th Theatre in New York City.[25] The Mickey Mouse series of sound cartoons, distributed by Powers through Celebrity Productions, quickly became the most popular cartoon series in the United States.[26][27] A second Disney series of sound cartoons, Silly Symphonies, debuted in 1929 with The Skeleton Dance.[28]
Documentary films about Disney animation
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Sejak memperkenalkan film kartun pertama mereka, Snow White and the Seven Dwarfs pada tahun 1937, Disney berhasil menghasilkan banyak film kartun yang menjadi favorit banyak orang dari segala usia dan menjadi tontonan seru di seluruh dunia.
Film-film ini tidak hanya memukau dengan animasi yang indah, tetapi juga dengan cerita yang menarik dan karakter yang ikonik. Setiap film Disney menawarkan pengalaman yang unik dengan tema dan karakter yang berbeda-beda, dan banyak di antaranya yang memenangkan banyak penghargaan.
Selain itu, film-film ini mampu menarik perhatian banyak penonton sehingga menjadikannya sebagai tontonan seru dan menghibur bagi semua kalangan. Dalam artikel ini, Bubun sudah rangkum 35 film kartun Disney terbaik sepanjang masa yang berhasil mendapat rating tertinggi.
Beauty and The Beast (1991)
Mengisahkan seorang pangeran yang dikenal memiliki sifat arogan tinggal bersama para pelayannya di sebuah kastil. Namun, tiba-tiba saja seorang penyihir menyihir mereka hingga mengubah sang pangeran menjadi seperti binatang dan para pelayan menjadi benda-benda.
Suatu hari seorang gadis desa yang rajin dan keras kepala bernama Belle memasuki kastil Beast, karena Beast telah memenjarakan sang ayah. Dengan bantuan para pelayannya yang terpesona, Belle mulai menarik Beast yang berhati dingin keluar dari keterasingannya.
Seorang remaja perempuan bernama Moana memutuskan untuk pergi berpetualang dengan berlayar untuk menyelamatkan bangsanya. Dalam perjalanan, ia bertemu dengan Dewa Maui yang membantunya untuk mencari jalan.
Bersama-sama mereka berlayar melintasi lautan menghadapi monster-monster besar dan bahaya sepanjang jalan untuk pencarian kuno leluhurnya.
–1984: Decline in popularity; Don Bluth's entrance and departure; "rock bottom"
Following Walt Disney's death, Wolfgang Reitherman continued as both producer and director of the studio's feature films.[98][99] It was Reitherman who was responsible for a noticeable softening of Disney villains, and over the next two decades, nearly all Disney villains were more comical or pitiful than scary.[100] Reitherman's main priority was ensuring that the studio would continue to turn a profit and towards that end, he stressed the importance of making family-friendly films.[100] According to Andreas Deja, Reitherman said that "if we lose the kids, we lose everything".[100]
The studio began the 1970s with the release of The Aristocats, the last film project to be approved by Walt Disney.[99] In 1971, Roy O. Disney, the studio co-founder, died and Walt Disney Productions was left in the hands of Donn Tatum and Card Walker, who alternated as chairman and CEO in overlapping terms until 1978.[101] The next feature, Robin Hood (1973), was produced with a significantly reduced budget and animation repurposed from previous features.[98] Both The Aristocats and Robin Hood were minor box office and critical successes.[98][99]
The Rescuers, released in 1977, was a success exceeding the achievements of the previous two Disney features.[99] Receiving positive reviews, high commercial returns, and an Academy Award nomination, it ended up being the third highest-grossing film of the year and the most successful and best reviewed Disney animated film since The Jungle Book.[98][99] The film was reissued in 1983, accompanied by a new Disney featurette, Mickey's Christmas Carol.[102]
The production of The Rescuers signaled the beginning of a changing of the guard process in the personnel at the Disney animation studio,[99] as veterans such as Milt Kahl and Les Clark retired; they were gradually replaced by new talents such as Don Bluth, Ron Clements, John Musker and Glen Keane.[99][103] The new animators, selected from the animation program at CalArts and trained by Eric Larson, Frank Thomas, Ollie Johnston and Woolie Reitherman,[99][103] got their first chance to prove themselves as a group with the animated sequences in Disney's live-action/animated hybrid feature Pete's Dragon (1977),[104] the animation for which was directed by Bluth.[98] In September 1979, dissatisfied with what they felt was a stagnation in the development of the art of animation at Disney,[105] Bluth and several of the other new guard animators quit to start their own studio, Don Bluth Productions,[105] which became Disney's chief competitor in the animation field during the 1980s.[103]
Delayed half a year by the defection of the Bluth group,[103] The Fox and the Hound was released in 1981 after four years in production. The film was considered a financial success by the studio, and development continued on The Black Cauldron, a long-gestating adaptation of the Chronicles of Prydain series of novels by Lloyd Alexander[103] produced in Super Technirama 70.[106]
The Black Cauldron was intended to expand the appeal of Disney animated films to older audiences and to showcase the talents of the new generation of Disney animators from CalArts. Besides Keane, Musker and Clements, this new group of artists included other promising animators such as Andreas Deja, Mike Gabriel, John Lasseter, Brad Bird and Tim Burton. Lasseter was fired from Disney in 1983 for pushing the studio to explore computer animation production,[107][108] but went on to become the creative head of Pixar, a pioneering computer animation studio that would begin a close association with Disney in the late 1980s.[107][109][110] Similarly, Burton was fired in 1984 after producing a live-action short shelved by the studio, Frankenweenie, then went on to become a high-profile producer and director of live-action and stop-motion features for Disney and other studios. Some of Burton's high-profile projects for Disney would include the stop-motion The Nightmare Before Christmas (1993), a live-action adaptation of Alice in Wonderland (2010), and a stop-motion feature remake of Frankenweenie (2012).[111][112] Bird was also fired after a few years working at the company for criticizing Disney's upper management as he felt that they were playing it safe and not taking risks on animation. He subsequently became an animation director at other studios, including Warner Bros. Animation and Pixar.[113]
Ron Miller, Walt Disney's son-in-law, became president of Walt Disney Productions in 1980 and CEO in 1983.[114] That year, he expanded the company's film and television production divisions, creating the Walt Disney Pictures banner under which future films from the feature animation department would be released.[114]
–2010: Rebound, Disney's acquisition of Pixar and renaming
Iger later said, "I didn't yet have a complete sense of just how broken Disney Animation was." He described its history since the early 1990s as "dotted by a slew of expensive failures" like Hercules and Chicken Little; the "modest successes" like Mulan and Lilo & Stitch were still critically and commercially unsuccessful compared to the earlier films of the Disney Renaissance.[202] After Iger became CEO, Jobs resumed negotiations for Pixar with Disney.[205] On January 24, 2006, Disney announced that it would acquire Pixar for $7.4 billion in an all-stock deal,[206] with the deal closing that May,[205][207][208] and the Circle 7 studio launched to produce Toy Story 3 was shut down,[209][210] with most of its employees returning to Feature Animation and Toy Story 3 returning to Pixar's control.[211] Iger later said that it was "a deal I wanted badly, and [Disney] needed badly." He believed that Disney Animation needed new leadership[202] and, as part of the acquisition, Edwin Catmull and John Lasseter were named president and Chief Creative Officer, respectively, of Feature Animation as well as Pixar.[207]
While Disney executives had discussed closing Feature Animation as redundant, Catmull and Lasseter refused and instead resolved to try to turn things around at the studio.[212] Lasseter said, "We weren't going to let that [closure] happen on our watch. We were determined to save the legacy of Walt Disney's amazing studio and bring it back up to the creative level it had to be. Saving this heritage was squarely on our shoulders."[213] Lasseter and Catmull set about rebuilding the morale of the Feature Animation staff,[214][215] and rehired a number of its 1980s "new guard" generation of star animators who had left the studio, including Ron Clements, John Musker, Eric Goldberg,[108] Mark Henn, Andreas Deja, Bruce W. Smith and Chris Buck.[216] To maintain the separation of Walt Disney Feature Animation and Pixar despite their now common ownership and management, Catmull and Lasseter "drew a hard line" that each studio was solely responsible for its own projects and would not be allowed to borrow personnel from or lend tasks out to the other. Catmull said that he and Lasseter would "make sure the studios are quite distinct from each other. We don't want them to merge; that would definitely be the wrong approach. Each should have its own personality."[217][218]
Catmull and Lasseter also brought to Disney Feature Animation the Pixar model of a "filmmaker-driven studio" as opposed to an "executive-driven studio"; they abolished Disney's prior system of requiring directors to respond to "mandatory" notes from development executives ranking above the producers in favor of a system roughly analogous to peer review, in which non-mandatory notes come primarily from fellow producers, directors and writers.[213][219][220] Most of the layers of "gatekeepers" (midlevel executives) were stripped away, and Lasseter established a routine of personally meeting weekly with filmmakers on all projects in the last year of production and delivering feedback on the spot.[221] The studio's team of top creatives who work together closely on the development of its films is known as the Disney Story Trust; it is somewhat similar to the Pixar Braintrust,[219][222] but its meetings are reportedly "more polite" than those of its Pixar counterpart.[223]
In 2007, Lasseter changed the name of Walt Disney Feature Animation to Walt Disney Animation Studios,[224] and re-positioned the studio as an animation house that produced both traditional and computer-animated projects. In order to keep costs down on hand-drawn productions, animation, design and layout were done in-house at Disney while clean-up animation and digital ink-and-paint were farmed out to vendors and freelancers.[225]
The studio released Meet the Robinsons in 2007, its second all-CGI film, earning $169.3 million worldwide.[226] That same year, Disneytoon Studios was also restructured and began to operate as a separate unit under Lasseter and Catmull's control.[227] Lasseter's direct intervention with the studio's next film, American Dog, resulted in the departure of director Chris Sanders,[228] who went on to become a director at DreamWorks Animation.[229] The film was retooled by new directors Byron Howard and Chris Williams as Bolt, which was released in 2008 and had the best critical reception of any Disney animated feature since Lilo & Stitch[230] and became a moderate financial success, receiving an Academy Award nomination for Best Animated Film.[231]
The Princess and the Frog, loosely based on the fairy tale The Frog Prince and the 2002 novel The Frog Princess, and directed by Ron Clements and John Musker, was the studio's first hand-drawn animated film in five years. A return to the musical-comedy format of the 1990s with songs by Randy Newman,[232] the film was released in 2009 to a positive critical reception and was also nominated for three Academy Awards, including two for Best Song.[233] The box office performance of The Princess and the Frog – a total of $267 million earned worldwide against a $105 million production budget – was seen as an underperformance due to competition with Avatar.[231] The underperformance was also attributed to the word "Princess" in the title, resulting in future Disney films then in production about princesses being given gender-neutral, symbolic titles: Rapunzel became Tangled and The Snow Queen became Frozen.[214][234][235][236] In 2014, former Disney animator Tom Sito compared the film's box office performance to that of The Great Mouse Detective (1986), which was a step-up from the theatrical run of the 1985 film The Black Cauldron.[237] In 2009, the studio also produced the computer-animated Prep & Landing holiday special for the ABC television network.[238]
–1940: Reincorporation, Silly Symphonies and Snow White and the Seven Dwarfs
In 1929, disputes over finances between Disney and Powers led to Disney's animation production company, reincorporated on December 16, 1929, as Walt Disney Productions, signing a new distribution contract with Columbia Pictures.[30][31] Powers, in return, signed away Ub Iwerks, who began producing cartoons at his own studio, although he would return to Disney in 1940.[32]
Columbia distributed Disney's shorts for two years before the Disney studio entered a new distribution deal with United Artists in 1932. The same year, Disney signed a two-year exclusive deal with Technicolor to utilize its new 3-strip color film process,[33] which allowed for fuller-color reproduction where previous color film processors could not.[34] The result was the Silly Symphony cartoon Flowers and Trees, the first film commercially released in full Technicolor.[34][35] Flowers and Trees was a major success[34][36] and all Silly Symphonies were subsequently produced in Technicolor.[37][38]
By the early 1930s, Walt Disney had realized that the success of animated films depended upon telling emotionally gripping stories that would grab the audience and not let go,[39][40] and this realization led him to create a separate "story department" with storyboard artists dedicated to story development.[41] With well-developed characters and an interesting story, the 1933 Technicolor Silly Symphony cartoon Three Little Pigs became a major box office and pop culture success,[34][42] with its theme song "Who's Afraid of the Big Bad Wolf?" becoming a popular chart hit.[43]
In 1934, Walt Disney gathered several key staff members and announced his plans to make his first animated feature film. Despite derision from most of the film industry, who dubbed the production "Disney's Folly", Disney proceeded undaunted into the production of Snow White and the Seven Dwarfs,[44] which would become the first animated feature in English and Technicolor. Considerable training and development went into the production of Snow White and the Seven Dwarfs and the studio greatly expanded, with established animators, artists from other fields and recent college graduates joining the studio to work on the film. The training classes, supervised by head animators such as Les Clark, Norm Ferguson and Art Babbit and taught by Donald W. Graham, an art teacher from the nearby Chouinard Art Institute,[12][44] had begun at the studio in 1932 and were greatly expanded into orientation training and continuing education classes.[12][44] In the course of teaching the classes, Graham and the animators created or formalized many of the techniques and processes that became the key tenets and principles of traditional animation.[12] Silly Symphonies such as The Goddess of Spring (1934) and The Old Mill (1937) served as experimentation grounds for new techniques such as the animation of realistic human figures, special effects animation and the use of the multiplane camera,[45] an invention that split animation artwork layers into several planes, allowing the camera to appear to move dimensionally through an animated scene.[46]
Snow White and the Seven Dwarfs cost Disney a then-expensive sum of $1.4 million to complete (including $100,000 on story development alone) and was an unprecedented success when released in February 1938 by RKO Radio Pictures, which had assumed distribution of Disney product from United Artists in 1937. It was briefly the highest-grossing film of all time before the unprecedented success of Gone with the Wind two years later,[47] grossing over $8 million on its initial release, the equivalent of $173,163,120 in 1999 dollars.
During the production of Snow White, work had continued on the Mickey Mouse and Silly Symphonies series of shorts. Mickey Mouse switched to Technicolor in 1935, by which time the series had added several major supporting characters, among them Mickey's dog, Pluto, and their friends Donald Duck and Goofy. Donald, Goofy, and Pluto would all be appearing in series of their own by 1940, and the Donald Duck cartoons eclipsed the Mickey Mouse series in popularity.[49] Silly Symphonies, which garnered seven Academy Awards, ceased in 1939, until the shorts returned to theatres with some re-issues and re-releases.[50]