《冰雪奇缘》重塑迪斯尼魔法？（精选合集）

第一篇：《冰雪奇缘》重塑迪斯尼魔法？

《冰雪奇缘》重塑迪斯尼魔法？

When Walt Disney CEO and Chairman Bob Iger showed up at the premiere of film Frozen on Nov.27, he was already sure that the animated musical about two sisters was something special, a return to the magical essence that made Disney, well, Disney.By the time he got to the credits, he had choked up.“I was glad I was wearing [3-D] glasses,” he says.“It was my proudest moment as the CEO of the Walt Disney Company.”

Frozen is melting Iger's heart not just because of the cold, hard, cash it's generating--it has grossed $669 million so far, and it hasn't even opened in China or Japan--but also because the success of the film, the third in a row for the studio after years of disappointment, appears to show that Disney Animation Studios is finally, finally back in the groove.“I realized, 'My goodness, Disney Animation is where it rightfully belongs,'” he says.“The exhilaration was profound.It's not about the bottom line.The bottom line is for the quarter.This is for something bigger and longer.”

The tale of two estranged sister princesses who must come together to de-ice their homeland,Frozen is racking up the big numbers.It was the No.1 all-time Disney animation debut, and it is expected to soon pass The Lion King in overall box office;it's been nominated for two Golden Globes and may get an Oscar nod;it's the No.1 album on both Amazon and iTunes.(Apparently, the “polar vortex” helped;people didn't seem to mind watching a story about an icy world when they were actually living in one.)

Frozen also has what Disney(DIS)calls “franchise” potential, which means that its characters and themes will translate across the company to everything from toys to theme park rides to interactive characters.It's a big deal, because there are only a relative handful of franchise brands at Disney.“They're not just making money inside of that film window,” says Tony Wible, senior media and entertainment analyst at Janney Capital Markets.“In that Disney fashion, they set it up across the whole spectrum.”

In the Michael Eisner/Jeffrey Katzenberg heyday between 1984 and 1994, Disney Animation rolled out one musical blockbuster after another.There was The Little Mermaid, The Lion King, Beauty and the Beast, and many others.And then the pixie dust dried up.For years, the offerings were listless and underperformed.Morale dropped and talent departed as companies like Dreamworks and Pixar took the lead in animation.Says Iger: “We went through a long period where, for a variety of reasons, we weren't making the films that drove the perception of the company and the brand.” That was a major reason why Iger's first big move as CEO was to spend over $7 billion to buy Pixar in 2006.And so, starting seven years ago, two of Pixar's co-founders, John Lasseter(now chief creative officer of both Disney Animation and Pixar)and Ed Catmull(now president of both studios), began to split their time between Pixar and Walt Disney Animation, commuting between the Bay Area and Anaheim every week in hopes of rekindling that Disney magic.Rather than trying to graft Pixar's thriving culture onto Disney's struggling one, they determined that the goal was to resurrect what had made Disney so special in the first place--the technically audacious, yet magical, fairy tale.But while they screened films for each other to get feedback, Pixar employees and Disney employees didn't actually work together on films, even during crunch times.Lasseter and Catmull believed it was critical to keep the two identities separate.They did, however, import one key Pixar attribute: They put the director, rather than the studio

chief or the animation head, in charge of the story.Unlike many studios, Pixar lets the director determine the arc of the narrative.Technology is used in service of the storytelling rather than as its starting point.“It was an executive-driven studio,” says Lasseter.“Now it's a filmmaker-driven studio.” It was a major shift--and one that took a while to catch on;first used with The Princess and the Frog, a well-reviewed film with disappointing sales, it began to catch hold with Tangled(2010)and Wreck-it-Ralph(2012), each of which outperformed financial and critical expectations.“Disney Animation has done three years in a row of really great stuff,” says analyst Wible.Then came Frozen, based loosely on Hans Christian Andersen's The Snow Queen, an idea that had kicked around Disney since the 1940s.Lasseter, whose first job was at Disney Animation, remembered a series of paintings of a frozen world and dug them out of storage when he came back.“I never forgot those paintings,” he says.“They were so incredibly beautiful.” Lasseter showed them to Chris Buck, the director of Tarzan, who had left Disney in the dark years, and helped convince him to come back.Later, he brought in Jennifer Lee, a screenwriter on Wreck-it-Ralph who is also the first woman to direct an animated Disney feature.Frozen's story is both timeless, as a classic Disney tale should be, and modern(both sisters are strong protagonists with a modern sensibility rather than passive females awaiting a man).Frozen's impact goes far beyond the movie theater, making it a key example of the synergy Iger has become known for during his Disney tenure.Anna and Elsa, the lead characters in the movie, have already become top-selling toys, as has Olaf the snowman, and a Frozen attraction at Disney's theme parks would be another logical step.Its music, written by Robert Lopez and Kristen Anderson-Lopez, is a natural for Broadway.In my house, for example, the movie's songs, such as “Let It Go,” and “Do You Want To Build A Snowman?” have become the soundtrack to our lives, thanks to my daughters.In his interview with Fortune, Iger confirmed for the first time that Disney is in discussions to develop a show, though there is no set time frame.“We're not demanding speed,” he says.“We're demanding excellence.”

What this means for morale, says Iger, is harder to quantify, but also important.Disney Animation is no longer the frumpy second fiddle to Pixar.“I was very lucky that I came into an environment where the number one creative process is the story,” Lee says.“It was like a startup because of this creative freedom and this energy.” Although the impact of one film won't rock Disney's gargantuan bottom line--especially since ESPN contributes so much of the profit--animation is, and will always be, the emotional core of the business.Says Iger: “If you think long term about what Disney is and the success and the vitality of the brand, this is a very, very important event.” Is it me, or is it getting warm in here?

第二篇：《冰雪奇缘》担负迪斯尼动画中英双语

体验式英语教育先锋美联英语

《冰雪奇缘》担负迪斯尼动画中英双语

A beautiful princess with magical powers, an adorable snowman with buck teeth and a carrot for a nose, and a picture-perfect prince.These characters, from the new Disney 3-D animated movie musical Frozen, may sound conventional, but the film still manages to do something Disney animation films don’t often do — break stereotypes.拥有魔力的美丽公主，用胡萝卜做鼻子、长着可爱兔牙的萌雪人以及一位白马王子。迪斯尼最新3D动画电影《冰雪奇缘》中的这些角色听上去可能有些老套，但该片仍能成功突破迪斯尼动画的传统，为影迷带来惊喜。

The combination of the words “Disney” and “princess” used to mean one thing: a film targeted at the little-girl market.But Frozen is evidence of how things have changed.“迪斯尼”加“公主”这个组合往往意味着：这是一部专攻“萝莉”市场的电影。而《冰雪奇缘》则证明了这一切已有所转变。

Loosely based on Danish author Hans Christian Andersen’s 1845 story The Snow Queen, the film focuses on two princesses, Elsa and Anna, who live in the fictional Scandinavian land of Arendelle.Since the plot is quite simple, we won’t give any more spoilers.该片改编自丹麦作家安徒生于1845年创作的童话故事《冰雪皇后》，主要讲述了来自虚构的北欧阿伦黛尔王国的两位公主艾莎和安娜的经历。由于该片情节简单，我们在这里就不做剧透了。

Indeed, Frozen looks like just another Disney princess movie.It has all the glorious settings, the storybook characters, and songs fit for a classic musical.The animation is simply great — ice has never looked so good and everything is made with attention to detail.《冰雪奇缘》看上去的确就是寻常的迪斯尼公主片。炫目场景、童话角色、经典音乐剧配乐一应俱全。动画效果令人称赞——冰雪风光叹为观止，片中处处透出对细节的专注。

But quite unlike its Disney forerunners, Frozen has characters that are a little more psychologically complex, and is more feminine in its ideas and themes.但与迪斯尼前作相比，《冰雪奇缘》的最大不同在于角色心理活动变得更为复杂，立意和主题上也更突出女性。

This may largely be attributed to co-director and co-writer Jennifer Lee, who is the first female director of a Disney animated feature film.This is a bigger shift than it sounds.After all, Disney is defined by its iconic female-centric fairytale adventures.Who could do a better job telling a story from a woman’s perspective than a female director?

这很大程度上或许要归功于作为编剧之一的联合导演詹妮弗•李，她也是首位执导迪斯尼主题电影的女性导演。这种改变要比听上去更明显。毕竟，迪斯尼最擅长的就是其标志性的女性题材童话冒险。而谁能比一位女导演更擅长从女性角度来讲故事呢?

体验式英语教育先锋美联英语

If a part of Frozen still hangs on to 19th century children’s literature, it’s the

not-so-clear-cut line between good and evil.In the original story, the title character is evil.Her 21st-century version is just confused and scared.即便《冰雪奇缘》的一些情节仍忠于写于19世纪的童话原著，但也没有“非善即恶”的明显界限。在原著中，书中同名角色是邪恶的。而在这部21世纪的翻拍版本中，这一角色则变得困惑而害怕。

As always, love is the solution to everything.When it seems as if nothing can melt the icy heart of the frightened Elsa, love proves everyone wrong.But in this case, it’s sisterly loyalty and devotion rather than romance.同往常一样，爱是解决一切的不二法门。当我们以为似乎没有什么能够融化艾莎那颗受到惊吓的冰雪之心时，爱再一次证明所有人都错了。而从这点来看，片中提及到姐妹情深和奉献精神，而非风花雪月。

With Frozen, Disney seems to know what kind of movies it should be making, and how to separate itself from Pixar, DreamWorks and all the other animation studios.It’s both a declaration of the company’s renewed cultural relevance and a reaffirmation of its own identity.凭借《冰雪奇缘》一片，迪斯尼似乎弄清了未来拍片的方向，并懂得如何在皮克斯、梦工厂等一系列对手的竞争中彰显自己的与众不同。这不仅标志着迪斯尼公司在文化关联上的与时俱进，同时也是对迪斯尼自身特色的又一次肯定。

As far as animated movies go, it doesn’t get much better.对于动画电影而言，没有什么比这更好了。

第三篇：魔法奇缘观后感

我是一个比较乐观比较喜欢幻想的人，所以今天想说说关于《魔法奇缘》的感受。从小就接触了童话故事，故事结尾都是王子和公主从此过着幸福的生活，很向往很喜欢那种幸福无忧无虑的生活，但是童话世界不是现实，随着年龄增长知道那些童话故事是编造的，但心里有个角落期望自己会过上那样的生活。而《魔法奇缘》让童话遭遇了现实，它让童话理想化世界和现实人们功利思想相碰撞很具吸引力。我很喜欢吉赛尔公主，她拥有一个完美公主该具备的一切：美丽的容貌、纯洁无暇的心灵、动听的嗓音、能和小动物沟通的奇特本领。她是个小傻妞，到了纽约也唱歌跳舞，招动物帮忙家务，剪了窗帘做衣服，对谁都一片真心，又有天使面孔魔鬼身材，想不可爱都难。演员对该角色的度掌握得很有分寸，造作，天真的造作，结尾处渐渐懂了人事，再不着痕迹地正常起来。

现在处于面对这个年龄的我们，仿佛已经厌倦了看童话故事。看了这部《魔法奇缘》，突然间又了一点启发，长大了的我们在内心深处仍然保存着小时候的童真，只是现在我们把它们收藏在一个很安全的地方，当我们要回顾的时候，我们就回忆起那一段无忧无虑的时光。真爱无处不在.童话中的爱情是不是适合于现代呢？童话故事中的主人翁大多数是一见钟情，现实中大家一见钟情的机率有多少呢？一见钟情是不是意味着一辈子就会在一起呢?是不是意味着一起的日子就会幸福呢?童话故事里没有现代纷繁的诱惑。但现代社会已不是那纯真简单的年代，在这种十字路口中，我们应该保持自己的个性，随着自己的心去

走，因为无论做什么都可以是对也可以是错的，而对错不是我们自己能判断的，它需要时间为我们揭晓答案。只有这样我们才会心安理得地过日子，不会有太多的遗憾，也不会有太多的不安与悲哀。

在这个故事中，王子和公主一见钟情，第二天要结婚的时候，恶皇后变成老妖婆把公主推向了现实的纽约。

从小看迪士尼的我们总是会梦想走进童话中当一回公主，这次，迪士尼让童话中的公主步入人间。当公主穿着巨大的雪白大蓬蓬婚纱试图从狭小的下水道口出来的时候我就开始乐了，童话式的公主、童话式的语言、童话式的思维模式、童话式的肢体动作，把这一切的童话搬到了昏暗阴郁的纽约，颇有恶搞意味。最汗的是所有童话里的招式都可以在现实中实现，于是我们就看到了公主一早起来打开窗户引吭高歌，所有的鸽子、老鼠、蟑螂、苍蝇涌到小小的公寓当中开始打扫、金花鼠英勇救美、真爱之吻唤醒睡美人、还有王子的玻璃鞋就一部是这样的片子。

童话中只有快乐的吉赛尔，来到现实，渐渐知道了生气，哀伤，王子到来的时候，她已经不再歌唱了。她留恋人世，爱上了罗伯特。或许是要告诉我们，童话的爱情在现实中终究是要夭折的？

童话王子爱德华来到凡间，诸事不顺。难得的是他保持健康明朗的心态，万般红尘过眼，不会扰乱他清朗的胸怀。他的未婚妻爱上了“农夫”，他认可“真情之吻”的规则。影片最后，罗伯特的前女友哀伤地跌坐在地，王子走过来，把公主遗拉的水晶鞋轻轻套在她的脚上。于是，他俩手牵手跑过闹市，回到童话王国，从此过上幸福的生

活。爱德华那样俊朗阳光，遵循童话世界的美好原则，理所当然一见钟情，当然要歌唱，当然要用水晶鞋找到自己的新娘。

现在的你或许已经不再相信什么真爱的鬼话，但幸福总是属于相信它存在的人。在物质横流的社会，每个人总会感到丝丝的孤独。孤独对于一个人来说并不意味着贬义，一个从来没有感觉到孤独的人怎能感受到真爱降临的快乐呢？去寻找属于我们自己内心的童话世界吧!为了幸福加油吧！

第四篇：魔法奇缘观后感

从小就接触童话故事，故事结尾都是王子和公主从此过着幸福的生活，但是童话世界不是现实，随着年龄增长知道那些童话故事是编造的。《魔法奇缘》让童话遭遇了现实，它让童话理想化世界和现实人们功利思想相碰撞很具吸引力。电影中的吉赛尔公主，她拥有一个完美公主该具备的一切：美丽的容貌、纯洁无暇的心灵、动听的嗓音、能和小动物沟通的奇特本领。她是个小傻妞，到了纽约也唱歌跳舞，招动物帮忙家务，剪了窗帘做衣服，对谁都一片真心，又有天使面孔魔鬼身材，想不可爱都难。

现在处于面对这个年龄的我们，仿佛已经厌倦了看童话故事。看了这部《魔法奇缘》，突然间又了一点启发。童话故事中的主人翁大多数是一见钟情，现实中大家一见钟情的机率有多少呢？一见钟情是不是意味着一辈子就会在一起呢?是不是意味着一起的日子就会幸福呢?童话故事里没有现代纷繁的诱惑。但现代社会已不是那纯真简单的年代，在这种十字路口中，我们应该保持自己的个性，随着自己的心去走。只有这样我们才会心安理得地过日子，不会有太多的遗憾，也不会有太多的不安与悲哀。

在这个故事中，王子和公主一见钟情，第二天要结婚的时候，恶皇后变成老妖婆把公主推向了现实的纽约。

从小看迪士尼的我们总是会梦想走进童话中当一回公主，这次，迪士尼让童话中的公主步入人间。当公主穿着巨大的雪白大蓬蓬婚纱试图从狭小的下水道口出来的时候我就开始乐了。最汗的是所有童话里的招式都可以在现实中实现，于是我们就看到了公主一早起来打开

窗户引吭高歌，所有的鸽子、老鼠、蟑螂、苍蝇涌到小小的公寓当中开始打扫、金花鼠英勇救美、真爱之吻唤醒睡美人、还有王子的玻璃鞋就一部是这样的片子。

童话中只有快乐的吉赛尔，来到现实，渐渐知道了生气，哀伤，王子到来的时候，她已经不再歌唱了。她留恋人世，爱上了罗伯特。或许是要告诉我们，童话的爱情在现实中终究是要夭折的？答案是不是的。现在的你或许已经不再相信什么真爱的鬼话，但幸福总是属于相信它存在的人。在物质横流的社会，每个人总会感到丝丝的孤独。孤独对于一个人来说并不意味着贬义，一个从来没有感觉到孤独的人怎能感受到真爱降临的快乐呢？去寻找属于我们自己内心的童话世界吧!为了幸福加油吧！

第五篇：《魔法奇缘》观后感

《魔法奇缘》观后感

在大学期间，观看了很多迪士尼的影视动画。这部影片与迪士尼过去所拍摄的电影一样，都是以温馨、圆满的画面为结局。这是一部充满美国幻想浪漫的喜剧音乐电影，于2007年上映。自从这部影片上映之后，获得了很多好评。它不仅赢得了2008年土星奖最佳幻想电影，而且还获得了第65届金球奖。

这部电影让童话遭遇了现实，和我们所看过的穿越作品有些类似，对我们来说是极具吸引力的。片中的吉赛尔美丽、可爱，她拥有一个公主该拥有的一切：花容月貌，纯洁无暇的心灵，动听的歌喉。更让人们觉得神奇的是，她可以和小动物们亲密的沟通。她一直梦想着和一位懂她歌声的白马王子在一起。或许是她的诚意感动了上苍，亦或是缘分，她最终和她朝思暮想的王子见面了。他们一见如故，彼此倾心，许下终身的誓约，并约定第二天结婚。然而，恶毒的王后为了保住自己的地位，使诈将吉赛尔送到了现实世界的纽约。从此展开

了现实世界中的吉赛尔与童话世界中的王子相互追逐的故事。

从一个世界到另一个完全陌生的世界，这让单纯的吉赛尔有点无从适应。幸运的是，律师罗伯特的女儿摩根向她伸出了援助之手。尽管环境改变了，但人的性格却很难改变。吉赛尔一直用她无边的热情和快乐感染着周围的每个人。虽然时间的洗涤让吉赛尔慢慢适应了这个大都市，但她心底还是坚信爱德华王子会来救她的。在和罗伯特相处的过程中，她渐渐明白了什么是爱情，也明白了情侣之间应该如何相处。

在花栗鼠的指引下，爱德华王子成功地找到了吉赛尔。当他提出想带她回去的时候，吉赛尔犹豫了。她告诉王子她想尝试现实世界中情侣约会的方式，想好好体验什么是爱情。当他们约会过后，吉赛尔发现自己并没有爱上王子。相反地，她心里所想的都是教会她在现实世界生活的罗伯特。可是，她不知道童话世界中“王子和公主永远幸福地生活在一起”，在现实世界中是否依然存在。

在电影的片尾处，吉赛尔吃下了王后的毒苹果。而唯一救醒她的办法就是真爱之吻。爱德华一直认为他和加塞儿之间是真爱，可故事在这时发生了逆转。罗伯特才是属于吉赛尔的白马王子。

童话世界中的爱德华和吉赛尔最终没有走在一起，这点倒是挺出乎我们的意料。同时，我们也从中明白了，并不是所有的王子和公主最后都会过着幸福美满的生活。爱情是一个很奇妙的东西，并不是所有的一见钟情最后都能有完美的结局。在面对爱情的时候，我们要理智地对待。当你想要弄明白一个人是否真正地适合你的时候，时间是

最好的检验方法。相处的越久，你们就越懂得彼此。在满是物欲横流的现实社会中，这点对于我们来说极其重要。无论童话还是现实，我们都该记住，属于你的爱情是需要你认真去寻找的。愿天下有情人都能终成眷属，过上幸福的生活！