By Chris Pallant
Demystifying Disney: A heritage of Disney function Animation offers a entire and punctiliously updated exam of the Disney studio's evolution via its lively movies. as well as hard definite misconceptions about the studio's improvement, the research additionally brings scholarly definition to hitherto missed features of up to date Disney.
Through a mix of monetary, cultural, ancient, textual, and technological techniques, this ebook offers a discriminating research of Disney authorship, and the authorial claims of others operating in the studio; conceptual and theoretical engagement with the structures of ‘Classic' Disney, the Disney Renaissance, and Neo-Disney; Disney's courting with different studios; how sure Disney animations problematise a homogeneous studying of the studio's output; and the way the studio's animation has replaced as a result of new electronic applied sciences. For all these attracted to gaining a greater figuring out of 1 of cinema's most well liked and leading edge studios, this can be a useful addition to the prevailing literature.
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Extra resources for Demystifying Disney : a history of Disney feature animation
Despite all the technological and financial obstacles, Disney’s predecessors and competitors did endeavour to make use of the earlier processes. Powers, for example, ‘who had . . a bootleg sound process in the competitive days of early talkies . . [arranged] to use the Cinecolor process’ (Maltin 1987, 194). This agreement enabled Iwerks to make colour cartoons using a two-colour process. Cinecolor’s two-colour process differed from that of the early two-colour Technicolor by using red and blue; this movement away from the red and green of two-colour Technicolor afforded ‘greater possibilities, particularly for animated film’ (Maltin 1987, 194).
21 combined ‘sound and image in an expressive manner impossible for his peers in live-action narrative cinema and . . achieve[d] perfect frameby-frame synchronization (today, the precise coordination of sound and image is still called “Mickey Mousing”)’ (Cook 2004, 233). Steamboat Willie proved most ground-breaking in the way it precisely synchronized visual and acoustic stimuli, to the degree that one would become inseparable from the other. The combination of animation with music, both following a common rhythm, saw the Disney animators establish a new aesthetic: ‘Instead of being a series of random effects, the cartoon achieved through music more solid structure than it had been possible to acquire from an unadorned story line’ (Schickel 1997, 131).
Shadowy creature who was never a real inhabitant of our fantasy world’ (1995, 323). This view, though, may reflect the remit of Thomas and Johnson’s Hyperion edition: to make a claim for Disney animation as art, where the non-rotoscoped work of the Studio promotes ‘the personal statement of an artist’ (1995, 323) – a 42 Demystifying Disney claim that is a little paradoxical given the Taylorist methods of production employed by the Studio. However, there is some basis to this claim, as Paul Ward has also argued that entirely rotoscoped ‘animation often look[s] strange, eerie, or out of place’ (2006, 233), a style which, in relation to hyperrealism, would prove counterproductive.