第一篇：《冰雪奇緣》重塑迪斯尼魔法？

《冰雪奇緣》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：《冰雪奇緣》擔負迪斯尼動畫中英雙語

體驗式英語教育先鋒美聯英語

《冰雪奇緣》擔負迪斯尼動畫中英雙語

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.擁有魔力的美麗公主，用胡蘿卜做鼻子、長著可愛兔牙的萌雪人以及一位白馬王子。迪斯尼最新3D動畫電影《冰雪奇緣》中的這些角色聽上去可能有些老套，但該片仍能成功突破迪斯尼動畫的傳統，為影迷帶來驚喜。

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”這個組合往往意味著：這是一部專攻“蘿莉”市場的電影。而《冰雪奇緣》則證明了這一切已有所轉變。

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.該片改編自丹麥作家安徒生于1845年創作的童話故事《冰雪皇后》，主要講述了來自虛構的北歐阿倫黛爾王國的兩位公主艾莎和安娜的經歷。由于該片情節簡單，我們在這里就不做劇透了。

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.《冰雪奇緣》看上去的確就是尋常的迪斯尼公主片。炫目場景、童話角色、經典音樂劇配樂一應俱全。動畫效果令人稱贊——冰雪風光嘆為觀止，片中處處透出對細節的專注。

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.但與迪斯尼前作相比，《冰雪奇緣》的最大不同在于角色心理活動變得更為復雜，立意和主題上也更突出女性。

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?

這很大程度上或許要歸功于作為編劇之一的聯合導演詹妮弗?李，她也是首位執導迪斯尼主題電影的女性導演。這種改變要比聽上去更明顯。畢竟，迪斯尼最擅長的就是其標志性的女性題材童話冒險。而誰能比一位女導演更擅長從女性角度來講故事呢?

體驗式英語教育先鋒美聯英語

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《冰雪奇緣》的一些情節仍忠于寫于19世紀的童話原著，但也沒有“非善即惡”的明顯界限。在原著中，書中同名角色是邪惡的。而在這部21世紀的翻拍版本中，這一角色則變得困惑而害怕。

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.同往常一樣，愛是解決一切的不二法門。當我們以為似乎沒有什么能夠融化艾莎那顆受到驚嚇的冰雪之心時，愛再一次證明所有人都錯了。而從這點來看，片中提及到姐妹情深和奉獻精神，而非風花雪月。

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.憑借《冰雪奇緣》一片，迪斯尼似乎弄清了未來拍片的方向，并懂得如何在皮克斯、夢工廠等一系列對手的競爭中彰顯自己的與眾不同。這不僅標志著迪斯尼公司在文化關聯上的與時俱進，同時也是對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.對于動畫電影而言，沒有什么比這更好了。

第三篇：魔法奇緣觀后感

我是一個比較樂觀比較喜歡幻想的人，所以今天想說說關于《魔法奇緣》的感受。從小就接觸了童話故事，故事結尾都是王子和公主從此過著幸福的生活，很向往很喜歡那種幸福無憂無慮的生活，但是童話世界不是現實，隨著年齡增長知道那些童話故事是編造的，但心里有個角落期望自己會過上那樣的生活。而《魔法奇緣》讓童話遭遇了現實，它讓童話理想化世界和現實人們功利思想相碰撞很具吸引力。我很喜歡吉賽爾公主，她擁有一個完美公主該具備的一切：美麗的容貌、純潔無暇的心靈、動聽的嗓音、能和小動物溝通的奇特本領。她是個小傻妞，到了紐約也唱歌跳舞，招動物幫忙家務，剪了窗簾做衣服，對誰都一片真心，又有天使面孔魔鬼身材，想不可愛都難。演員對該角色的度掌握得很有分寸，造作，天真的造作，結尾處漸漸懂了人事，再不著痕跡地正常起來。

現在處于面對這個年齡的我們，仿佛已經厭倦了看童話故事。看了這部《魔法奇緣》，突然間又了一點啟發，長大了的我們在內心深處仍然保存著小時候的童真，只是現在我們把它們收藏在一個很安全的地方，當我們要回顧的時候，我們就回憶起那一段無憂無慮的時光。真愛無處不在.童話中的愛情是不是適合于現代呢？童話故事中的主人翁大多數是一見鐘情，現實中大家一見鐘情的機率有多少呢？一見鐘情是不是意味著一輩子就會在一起呢?是不是意味著一起的日子就會幸福呢?童話故事里沒有現代紛繁的誘惑。但現代社會已不是那純真簡單的年代，在這種十字路口中，我們應該保持自己的個性，隨著自己的心去

走，因為無論做什么都可以是對也可以是錯的，而對錯不是我們自己能判斷的，它需要時間為我們揭曉答案。只有這樣我們才會心安理得地過日子，不會有太多的遺憾，也不會有太多的不安與悲哀。

在這個故事中，王子和公主一見鐘情，第二天要結婚的時候，惡皇后變成老妖婆把公主推向了現實的紐約。

從小看迪士尼的我們總是會夢想走進童話中當一回公主，這次，迪士尼讓童話中的公主步入人間。當公主穿著巨大的雪白大蓬蓬婚紗試圖從狹小的下水道口出來的時候我就開始樂了，童話式的公主、童話式的語言、童話式的思維模式、童話式的肢體動作，把這一切的童話搬到了昏暗陰郁的紐約，頗有惡搞意味。最汗的是所有童話里的招式都可以在現實中實現，于是我們就看到了公主一早起來打開窗戶引吭高歌，所有的鴿子、老鼠、蟑螂、蒼蠅涌到小小的公寓當中開始打掃、金花鼠英勇救美、真愛之吻喚醒睡美人、還有王子的玻璃鞋就一部是這樣的片子。

童話中只有快樂的吉賽爾，來到現實，漸漸知道了生氣，哀傷，王子到來的時候，她已經不再歌唱了。她留戀人世，愛上了羅伯特。或許是要告訴我們，童話的愛情在現實中終究是要夭折的？

童話王子愛德華來到凡間，諸事不順。難得的是他保持健康明朗的心態，萬般紅塵過眼，不會擾亂他清朗的胸懷。他的未婚妻愛上了“農夫”，他認可“真情之吻”的規則。影片最后，羅伯特的前女友哀傷地跌坐在地，王子走過來，把公主遺拉的水晶鞋輕輕套在她的腳上。于是，他倆手牽手跑過鬧市，回到童話王國，從此過上幸福的生

活。愛德華那樣俊朗陽光，遵循童話世界的美好原則，理所當然一見鐘情，當然要歌唱，當然要用水晶鞋找到自己的新娘。

現在的你或許已經不再相信什么真愛的鬼話，但幸福總是屬于相信它存在的人。在物質橫流的社會，每個人總會感到絲絲的孤獨。孤獨對于一個人來說并不意味著貶義，一個從來沒有感覺到孤獨的人怎能感受到真愛降臨的快樂呢？去尋找屬于我們自己內心的童話世界吧!為了幸福加油吧！

第四篇：魔法奇緣觀后感

從小就接觸童話故事，故事結尾都是王子和公主從此過著幸福的生活，但是童話世界不是現實，隨著年齡增長知道那些童話故事是編造的。《魔法奇緣》讓童話遭遇了現實，它讓童話理想化世界和現實人們功利思想相碰撞很具吸引力。電影中的吉賽爾公主，她擁有一個完美公主該具備的一切：美麗的容貌、純潔無暇的心靈、動聽的嗓音、能和小動物溝通的奇特本領。她是個小傻妞，到了紐約也唱歌跳舞，招動物幫忙家務，剪了窗簾做衣服，對誰都一片真心，又有天使面孔魔鬼身材，想不可愛都難。

現在處于面對這個年齡的我們，仿佛已經厭倦了看童話故事。看了這部《魔法奇緣》，突然間又了一點啟發。童話故事中的主人翁大多數是一見鐘情，現實中大家一見鐘情的機率有多少呢？一見鐘情是不是意味著一輩子就會在一起呢?是不是意味著一起的日子就會幸福呢?童話故事里沒有現代紛繁的誘惑。但現代社會已不是那純真簡單的年代，在這種十字路口中，我們應該保持自己的個性，隨著自己的心去走。只有這樣我們才會心安理得地過日子，不會有太多的遺憾，也不會有太多的不安與悲哀。

在這個故事中，王子和公主一見鐘情，第二天要結婚的時候，惡皇后變成老妖婆把公主推向了現實的紐約。

從小看迪士尼的我們總是會夢想走進童話中當一回公主，這次，迪士尼讓童話中的公主步入人間。當公主穿著巨大的雪白大蓬蓬婚紗試圖從狹小的下水道口出來的時候我就開始樂了。最汗的是所有童話里的招式都可以在現實中實現，于是我們就看到了公主一早起來打開

窗戶引吭高歌，所有的鴿子、老鼠、蟑螂、蒼蠅涌到小小的公寓當中開始打掃、金花鼠英勇救美、真愛之吻喚醒睡美人、還有王子的玻璃鞋就一部是這樣的片子。

童話中只有快樂的吉賽爾，來到現實，漸漸知道了生氣，哀傷，王子到來的時候，她已經不再歌唱了。她留戀人世，愛上了羅伯特。或許是要告訴我們，童話的愛情在現實中終究是要夭折的？答案是不是的。現在的你或許已經不再相信什么真愛的鬼話，但幸福總是屬于相信它存在的人。在物質橫流的社會，每個人總會感到絲絲的孤獨。孤獨對于一個人來說并不意味著貶義，一個從來沒有感覺到孤獨的人怎能感受到真愛降臨的快樂呢？去尋找屬于我們自己內心的童話世界吧!為了幸福加油吧！

第五篇：《魔法奇緣》觀后感

《魔法奇緣》觀后感

在大學期間，觀看了很多迪士尼的影視動畫。這部影片與迪士尼過去所拍攝的電影一樣，都是以溫馨、圓滿的畫面為結局。這是一部充滿美國幻想浪漫的喜劇音樂電影，于2007年上映。自從這部影片上映之后，獲得了很多好評。它不僅贏得了2008年土星獎最佳幻想電影，而且還獲得了第65屆金球獎。

這部電影讓童話遭遇了現實，和我們所看過的穿越作品有些類似，對我們來說是極具吸引力的。片中的吉賽爾美麗、可愛，她擁有一個公主該擁有的一切：花容月貌，純潔無暇的心靈，動聽的歌喉。更讓人們覺得神奇的是，她可以和小動物們親密的溝通。她一直夢想著和一位懂她歌聲的白馬王子在一起。或許是她的誠意感動了上蒼，亦或是緣分，她最終和她朝思暮想的王子見面了。他們一見如故，彼此傾心，許下終身的誓約，并約定第二天結婚。然而，惡毒的王后為了保住自己的地位，使詐將吉賽爾送到了現實世界的紐約。從此展開

了現實世界中的吉賽爾與童話世界中的王子相互追逐的故事。

從一個世界到另一個完全陌生的世界，這讓單純的吉賽爾有點無從適應。幸運的是，律師羅伯特的女兒摩根向她伸出了援助之手。盡管環境改變了，但人的性格卻很難改變。吉賽爾一直用她無邊的熱情和快樂感染著周圍的每個人。雖然時間的洗滌讓吉賽爾慢慢適應了這個大都市，但她心底還是堅信愛德華王子會來救她的。在和羅伯特相處的過程中，她漸漸明白了什么是愛情，也明白了情侶之間應該如何相處。

在花栗鼠的指引下，愛德華王子成功地找到了吉賽爾。當他提出想帶她回去的時候，吉賽爾猶豫了。她告訴王子她想嘗試現實世界中情侶約會的方式，想好好體驗什么是愛情。當他們約會過后，吉賽爾發現自己并沒有愛上王子。相反地，她心里所想的都是教會她在現實世界生活的羅伯特。可是，她不知道童話世界中“王子和公主永遠幸福地生活在一起”，在現實世界中是否依然存在。

在電影的片尾處，吉賽爾吃下了王后的毒蘋果。而唯一救醒她的辦法就是真愛之吻。愛德華一直認為他和加塞兒之間是真愛，可故事在這時發生了逆轉。羅伯特才是屬于吉賽爾的白馬王子。

童話世界中的愛德華和吉賽爾最終沒有走在一起，這點倒是挺出乎我們的意料。同時，我們也從中明白了，并不是所有的王子和公主最后都會過著幸福美滿的生活。愛情是一個很奇妙的東西，并不是所有的一見鐘情最后都能有完美的結局。在面對愛情的時候，我們要理智地對待。當你想要弄明白一個人是否真正地適合你的時候，時間是

最好的檢驗方法。相處的越久，你們就越懂得彼此。在滿是物欲橫流的現實社會中，這點對于我們來說極其重要。無論童話還是現實，我們都該記住，屬于你的愛情是需要你認真去尋找的。愿天下有情人都能終成眷屬，過上幸福的生活！