Bill Capodagli and Lynn Jackson, Innovate the Pixar Way: Business Lessons from the World’s Most Creative Corporate Playground (New York: McGraw-Hill, 2010), ix.
For an overview of approaches to branding, see Leslie de Chernatony and Francesca Dall’Olmo Riley, ‘Defining a “Brand”: Beyond the Literature With Experts’ Interpretations’, Journal of Marketing Management 14 (1998), 417–443.
Teemu Moilanen and Seppo Rainisto, How to Brand Nations, Cities and Destinations: A Planning Book for Place Branding (Basingstoke: Palgrave Macmillan, 2008), 6.
Celia Lury, Brands: The Logos of the Global Economy (London: Routledge, 2004), 22.
Eileen Meehan, ‘“Holy Commodity Fetish, Batman!”: The Political Economy of a Commercial Intertext’, in The Many Lives of the Batman: Critical Approaches to a Superhero and His Media, eds. Roberta E. Pearson and William Uricchio (London: Routledge, 1991), 47–65.
Jonathan Gray, Show Sold Separately: Promos, Spoilers, and Other Media Paratexts (London: New York University Press, 2010), 3.
Adam Arvidsson, Brands: Meaning and Value in Media Culture (London: Routledge, 2006), 8.
Craig Hight, ‘Making-of Documentaries on DVD: The Lord of the Rings Trilogy and Special Editions’, The Velvet Light Trap 56 (Fall 2005), 4–17.
Barbara Klinger, Beyond the Multiplex: Cinema, New Technologies, and the Home (London: University of California Press, 2006), 68.
Craig Hight, ‘Making-Of documentaries on DVD’, 7; John Thornton Caldwell, Production Cultures: Industrial Reflexivity and Critical Practice in Film and Television (London: Duke University Press, 2008), 283.
Pixar and Disney were, at that time, engaged in a series of increasingly heated negotiations over the terms of the production contract between them. For more on this, see David Price, The Pixar Touch: The Making of a Company (New York: Alfred A. Knopf, 2008);
Robert Alan Brookey and Robert Westerfelhaus, ‘The Digital Auteur: Branding Identity on the Monsters, Inc. DVD’, Western Journal of Communication 69, no. 2 (April 2005), 120–122.
Christopher Anderson, Hollywood TV: The Studio System in the Fifties (Austin: University of Texas Press, 1994), 144. As well as the Disneyland series, also see Disney’s live-action and animated behind-the-scenes movie, The Reluctant Dragon (1941).
John Urry, The Tourist Gaze (London: Sage, 2002), 2–3.
Robin Wood, Hollywood from Vietnam to Reagan (New York: Columbia University Press, 1986), 162–163.
Rick Lyman, ‘A Digital Dream Factory in Silicon Valley; Pixar’s New Digs Coddle Animators, Writers and Tech Heads’, The New York Times, 11 June 2002, E1; Sean P. Means, ‘Playing at Pixar’, Salt Lake Tribune, 30 May 2003, D1; Susan Wloszczyna, ‘Pixar Whiz Reanimates Disney’, USA Today, 9 March 2006, 1D; Robert La Franco, ‘Creative Drive: Suits Are Out. Hawaiian Shirts Are in with John Lasseter and Ed Catmull at Disney’, Hollywood Reporter, 9 June 2006, 43; Glenn Whipp, The Daily News of Los Angeles, 30 May 2003, U6.
Karen Paik, To Infinity and Beyond: The Story of Pixar Animation Studios (London: Virgin Books, 2007), 167–168.
Ibid., 168. Also see Walter Isaacson, Steve Jobs (New York: Simon & Schuster, 2011), 243–244.
Jeffrey S. Young and William L. Simon, iCon: Steve Jobs — The Greatest Second Act in the History of Business (Hoboken, New Jersey: John Wiley & Sons, 2005), 308.
Beth Dunlop, Building a Dream: The Art of Disney Architecture (New York: Harry N. Abrams, 1996), 13.
Gérard Genette, Paratexts: Thresholds of Interpretation (Cambridge: Cambridge University Press, 1987), 2.
Jason Mittell, Genre and Television: From Cop Shows to Cartoons in American Culture (London: Routledge: 2004), 56–93.
Colleen Montgomery, ‘Woody’s Roundup and Wall-E’s Wunderkammer: Technophilia and Nostalgia in Pixar Animation’, Animation Studies 6 (2011), 7–13.