Walt Disney’s Song of the South (Jackson & Foster, 1946) is probably one of the least known films from the wildly successful company. The film tells the story of Uncle Remus—an African-American former slave—who tells the stories of Br’er Rabbit and his friends to children, some of which are white. The film is separated into segments which include live action, animation and a blend of both. The films animated sequences included catchy songs such as “Zip-A-Dee-Doo-Dah and Everybody’s Got a Laughin’ Place” which accompanied the lessons that were taught, which are still popular and in use by the company today. The stories were borrowed from Joel Chandler Harris’s books about Uncle Remus who narrates African-American folk tales. The representation of African-American and white relationships has lead to a discussion of the film as an example of a racist text. Since its initial release conversation of the film as racist persists and as a result has lead to the film being tucked firmly away in the Disney vault—“Disney has declined to release the film on video in the U.S., fearing an outcry over the crude stereotypes. Song of the South was plagued with notions of racism from its inception, based on the stereotypes used, initial drafts of the script, and outspoken opinions by organizations which preceded the film. However, the film was not intended to convey racist imagery and perpetuate the notion of racism, but to share the stories of Uncle Remus with a new generation.
My initial idea for this paper was to focus on the technical aspects of the film—the hybrid of animation and live action. I first saw this technique used in The Three Caballeros (Ferguson & Young, 1944) and was going to research this film, but the amount of literature on t...
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...Vault and probably won’t see the light of day for a very long time—if ever. In fact, the controversy has been so much of a spectacle for Disney that they do not even acknowledge the films existence in its parks or in compilation videos. Splash Mountain is based off of the film and only bears resemblance in the inclusion of the Br’er characters and some of the musical accompaniment. I think further research could be done on how Walt Disney himself felt about the making of the film and the controversy surrounding it. I think that it would bode well to look into this aspect and maybe shed some light on this aspect of the film as opposed to the controversial aspect which will always garner more attention. In the end Walt Disney’s favored childhood stories made it to the big screen and was subsequently shut down, leaving many to wonder, what else is hidden in that vault?
Citizen Kane, directed by Orson Welles, was an exemplary and ground-breaking work. In narrative structure and film style, Welles challenged classical Hollywood conventions and opened a path for experimentation in the later 1940s. Gregg Toland’s deep-focus cinematography and Welles’ use of low-key lighting are often discussed aspects of the movie. True, these were areas of innovation, but when watching the movie in class I was particularly struck by the use of camera movement, or “mobile framing” as described in Film Art. In this historical analysis, I will take a detailed look at how Welles and Toland use camera movement to develop and challenge the Hollywood style. By referring to other movies viewed in Professor Keating’s class, including The Cheat, Wings, Applause, Double Indemnity, The Last Laugh and Bicycle Thief, this paper traces one aspect of innovation and diffusion in the movie many call the greatest film ever, Citizen Kane.
Films are designed for numerous purposes, some entertain, frighten, enlighten, educate, inspire, and most make us think about the world we live in. This paper will be focused on the cinematic interpretation of the film "Stepping Razor Red X", the Peter Tosh Story. The makers of a film from the writer, director, cinematographer and the art director, design, and conceptualize what they want the viewer to see.
Presently, Disney known for its mass media entertainment and amusement parks technically bring warm feelings to many children and some adults. Personally, Disney elicits magical fantasies that children enjoy and further encourages imagination and creativity. For decades Disney has exist as an unavoidable entity with its famous global sensation and reach. Furthermore, Disney is a multibillion dollar empire with an unlimited grasp on individuals and territories. An empire per se, since they own many media outlets, markets, shops, etc., you name it they got it. However, the film Mickey Mouse Monopoly presents an entirely new perspective on the presumed innocence projected in Disney films. This film exposes certain traits Disney employs and exclusively portrays through its media productions, specifically cartoons for directing and nurturing influence beginning with children. Mickey Mouse Monopoly points out camouflaged messages of class, race, and gender issues in Disney films that occur behind the scenes intended to sway viewers towards adopting Disney values.
“Song of the South” begins with a white seven year-old boy named Johnny (Bobby Driscoll) travelling to his grandmother, Miss Doshy’s (Lucile Watson) plantation in Georgia, with his parents, John (Eric Rolf) and Sally (Ruth Warrick). Upon arriving at the plantation, Johnny is hit with the news that his father has to return to Atlanta for his job, while he is to live in the plantation with his mother and grandmother. Heartbroken at the separation from his father and determined, Johnny packs a small sack and tries to return to Atlanta on his own. In the middle of sneaking away from the plantation, he is distracted and lured by the sight of a bunch of people surrounding a campfire, aptly listening to a man telling stories. This is when he first meets Uncle Remus (James Baskett). Uncle Remus later befriends Johnny and subtly dissuades him from running away by regaling one of his many tales of Brer Rabbit, a tale about Rabbit’s attempt to leave home and how that turned out. As Johnny spends more time with Uncle Remus, Johnny also befriends Toby (Glenn Leedy), a little black boy. Later on, among Johnny’s other problems, like being bullied by two of his white neighbors, Joe (Gene Holland) and Jake Favers (Georgie Nokes), Uncle Remus provides consolation through more tales of Brer Rabbit, advising Johnny of certain life-lessons. All the while, a sweet friendship develops between Johnny and Ginny Favers (Luana Patten), Joe and Jake’s little sister...
When we typically think of racial tropes in popular culture, we often don’t look towards animated G-rated movies. The film The Princess and the Frog released by Walt Disney Animated Classics in 2009 created by John Musker, Ron Clements and Rob Edwards is a perfect contemporary example of a film that shows images of pre-constructed racial tropes. Though Disney has produced multiple films based on past fairy tales, The Princess and the Frog was the first animated Disney princess film that featured an African American woman in a leading role. Often times regarded as a turning point in Disney’s movie production career, the film’s representation of African Americans proves to be regressive of racist politics surrounding the 21st century. The design
American cinema has marveled audiences for over a century and during that timeframe there have been several advancements worthwhile of mentioning. The creation, introduction, and development of the camera is clearly one of the advancements which set the stage for films, beginning with the basic image to those utilizing multiple images in order to create movement. Then came the addition of sound into films which added another element for viewers to enjoy and finally the use of light to enhance the movement being displayed. For the most part, these techniques were rudimentary in nature until 1941 when the film Citizen Kane was released and forever changed the film industry. The remainder of this paper will analyze how Citizen Kane challenged traditional filmmaking techniques to revolutionize and benchmark the film industry for all production studios.
As time and people are continually changing, so is knowledge and information; and in the film industry there are inevitable technological advances necessary to keep the attraction of the public. It is through graphic effects, sounds and visual recordings that all individuals see how we have evolved to present day digital technology; and it is because of the efforts and ideas of the first and latest great innovators of the twentieth century that we have advanced in film and computers.
With the discovery of techniques such as continuous editing, multiple camera angles, montage editing, and more, silent filmmaking developed from simple minute-long films to some of the most beautiful, awe-inspiring films that have ever been created—in only a few decades. In Visions of Light, someone alluded that if the invention of sound had come along a mere ten years later, visual storytelling would be years ahead of what it is today. This statement rings true. When looking at the immense amount of progress that was made during the silent era of films, one must consider where the art of film has been, where it is, and where it is
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
Even though the production of Disney’s film The Frog Princess is a huge step forward to show the equality of all culturals and ethnicities, it just shows that racial components which were once overlooked by most parents and children are now a wide spread controversy. Giroux thoroughly explains the effect Disney films has on the youth, “Rather, it points to the need to address in meaningful and rigorous ways the role of fantasy, desire, and innocence in securing particular ideological interests, legitimating specific social relations, and providing the content of public memory” (Giroux 132).
It is safe to say that Disney movies are not before anyone’s time. They have been passed down from generation to generation and still have a positive impact on pop culture today. The values of Disney movies though have always been the same. That is to follow your dreams and good things will come. The only problem is what they teach you about the journey and the people you meet on the way there. Women aren’t given the most respectful depictions in Disney films and that hasn’t been a problem through the years because their films still sell. Children don’t know the difference between being a damsel and a heroine, or how the hero always gets what he wants. Given the right distraction, parents are none the wiser about these hidden personas that their children are being exposed to. Ironically enough, these stories originated from a darker perspective. Both Disney and German fairytales focus on stories about a character that come from rags to riches because it inspires people. At a time when Germany needed hero’s and magic, these fairytales gave people of older and younger ages hope for better times. Disney on the other hand targeted the younger female viewers. Fairy tale films made in the GDR have a surprising number were adaptations of the Brother Grimms’ fairy tales (Fritzsche, 4). At first, the fairy tale genre as a whole and particularly the Grimms’ tales were designated as “folklore,” which reinforced the values of the ruling classes. It was until the first congress of Soviet writers in August 1934 when Maxim Gorky rehabilitated the genre as a folktale that encouraged class struggle (Fritzsche, 5). Although the fairy tales were seen as East German cultural heritage during the country’s formalism debates, the Gri...