On site: creating lifelike characters in Pixar movies

The influence of spatial context and the role of intentionality in the interpretation of animacy from motion

“…A recent article discussing animation techniques used to create films such as Toy Story, A Bug's Life, and Toy Story 2 (Porter & Susman, 2000) reports that: [Animators] understand that "lifelike" does not mean "has movement"; lifelike means "has a brain." The underlying notion of Pixar and Disney animation is that action is driven by the character's cognitive processes-that it reflects intelligence, personality, and emotion.…”

La evolución de la masculinidad en Disney a través de La Bella y La Bestia: de la versión animada de Kirk Wise y Gary Trousdale (1991) a la de acción real de Bill Condon (2017)

“…El esfuerzo que realiza y las decisiones que toma dicho personaje -para superar o aliviar estos tres puntos centrales de la narración -es lo que resalta el valor de la historia. En definitiva, lo que se busca es que los personajes tengan personalidad y vivan emociones (Porter 2000). Es importante que estos tengan personalidad para que la espectadora o el espectador vaya descubriendo al personaje y conozca así sus valores, sus miedos, sus virtudes y sus defectos.…”

Perception of intentions and mental states in autonomous virtual agents

“…Almost without exception, video stimuli used in past experiments in this area have consisted of hand-crafted animations with motions chosen subjectively by the experimenters in order to achieve particular psychological impressions (Porter & Susman, 2000). This makes it difficult to investigate the way subjects estimate intentionality, because the object of the estimation procedure-the actual mental state of the agent under observation-does not actually exist.…”