The standard Disney story from the mid 1930s to the beginning of the 1940s is one of the pursuit and somewhat linear progression towards realism. Many theorists used the term ‘hyperrealism’ to describe what appeared to be Disney’s “attempt to represent reality in a medium predicated on artificiality” during the Disney-Formalist period (Disney Formalism, Pallant, 40). Indeed, as the animation and technology employed by the company became more advanced, productions relied less on gag-based humor and metamorphosis and more on realistic animation to develop character and narrative. Many critics of this evolution viewed them as “a move away from animation’s main province, as well as a kind of non-artistry produced from simply duplicating live …show more content…
Compared its Symphony companions, Three Orphan Kittens stands out for its use of realistic setting and characters, as well as its item-based gag-humor. The backgrounds and objects inhabit the world, filmed by a camera that appears to move through a three-dimensional space, together lack the cartoonish stylization found in most Silly Symphonies. Sticking to a strict definition of ‘realism’, the attempt to represent the subject realistically as opposed to abstractly, the short marks one of the peaks of realism in Disney features throughout the production company’s first ten …show more content…
However, future productions do not include or improve on this sort of reality and focus on more complex narratives and characters. Three Orphan Kittens is notably devoid of dynamic characters found in these later productions, such as the Duckling in The Ugly Duckling and Grumpy in Snow White. Instead, Three Orphan Kittens features five characters: the three kittens, a housemaid, and a child. The housemaid and child are little more than stereotypes, their lack of personality embodied by their mostly off-screen presence [figure F]. The kittens would be indistinguishable if they were all the same color. Over the course of the narrative, which is also simplicity and one-dimensional, none of the characters change. Disney notes this as a failure when he wrote a memo to Ben Wickersham, one of the animators on the project, stating, “your resourcefulness in handling a personality has need of improvement” (Animated man, 113). While technologically Three Orphan Kittens proved to be a success in its implementation of camera motion, the realistic backgrounds and flat narrative and cast were not enough to please
Evolution. The word generally used to describe the change in the genes of humans from generation to generation to adapt to their environment, but the definition also states that it is any process of growth or development. Evolution, in this case, can be successfully used in either context. Florenz Kitten adapted the design of the steam engine to work for the landscape of the region and manufactured them at his shop, the Kitten Foundry and Machine Work, later renamed the Ferdinand Foundry and Machine Works (Sonderman 57). Years later, after electric and gas power have erased all need for steam products, few steam engine still exist. Although the Ferdinand Foundry and Machine Works in Ferdinand, Indiana no longer continues production, the
Giroux, Henry A., and Grace Pollock. The Mouse That Roared: Disney and the End of
While most just think of Walt Disney as the creator of the Disney movie empire and the Disney theme parks, those such as author Steven Watts, who think more deeply about Disney, consider him to be the “influential architect of modern America” (Watts, p. 4). While the genius of Walt Disney has affected many aspects of American, and now overseas, cultures, his empire has had a significant impact on what people experience during childhood.
If children or adults think of the great classical fairy tales today, be it Snow White, Sleeping Beauty, or Cinderella, they will think Walt Disney. Their first and perhaps lasting impression of these tales and others will have emanated from Disney film, book, or artefacts (Zipes 72)
In the story, Alice is a seven-year-old girl. John Tenniel illustrates Alice to fit her age group exactly. He draws her as a tiny little girl with big innocent eyes. However, one point that could be discussed with children is how some portrays of Alice seem to look older than seven years of age, for ins...
Smith, Caroline. “The Not So Wonderful Word of Disney.” University of Alabama Arts & Sciences Department. Retrieved 13 Dec. 2013 from < http://www.english.uga.ed u/fyc/barnett/smith2006-07.pdf>.
Over the course of the last century, a young orphan by the name of Annie has been plastered amongst a media-driven world. Crawling into the minds and hearts of many, the iconic tale of Annie and her exposure to the world of the social elite has made way for a magnitude of adaptations. Deriving from a 1885 poem, Little Orphant Annie by James Whitcomb Riley, Annie and her adventures has been illustrated as comic strips (Little Orphan Annie by Harold Gray), books (Annie by Thomas Meehan), and musicals (Annie and Annie 2: Miss Hannigan’s Revenge by Thomas Meehan) (“Little Orphant Annie”)(Cronin)(“Annie {Musical} Plot & Characters”). The latest takes on an Annie adaptation has been met with the big screens. Within the last thirty years, directors John Huston and Will Gluck have released two different versions of the life and journey of a young girl (“Annie” {1982})(“Annie” {2014}) .
Walt Disney, creator of all things “happily ever after”, renowned for his work in movies and tv, is not only a famous animator and film producer, he is also a pioneer in American history by changing the lives of many through his encouraging work in movies. Walt Disney is important to the study of American history because he created movies and tv shows that taught happiness and heartbreak to children. He taught them that being small cannot hold you back from being mighty and doing the right thing. He revealed different cultures to children, and broadened their views on the world around them. In doing this, he widened global communication and the understanding of varieties of cultures and ethnicities (4).
In the end, what Halberstam is doing in her essay “Animating Revolt and Revolting Animation”, is providing a new way of thinking. Not just about the animated films she discusses, but also about humanity as a whole. Films such as Toy Story, Over the Hedge, and even Finding Nemo are used to represent a new utopia for children where they can escape the troubles of reality that are created by those that they are surrounded with. And other films such as March of the Penguins , that are used to rework humanity. Altogether,
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.
About ninety years after the publication of Alice in Wonderland, Walt Disney Productions decided to bring Carroll’s book to life using their signature colorful, upbeat style. This version of Alice’s journey presents the story of Alice’s journey as she grows bored of her older sister’s storytelling and instead chases a rabbit down a hole in a tree and into Wonderland. The film transitions from a room with magical treats, to a sea made of Alice’s tears, to the White Rabbit’s home, to the garden of talking flowers, to the March Hare and Mad Hatter’s unbirthday tea party
Smith, David R. “Disney, Walt.” World Book Advanced. World Book, 2014. Web. 19 Mar. 2014.
In today’s modern age, young children are being raised by their TV screen. Reining from the original tales of Perrault and the Grim Brothers, the Disney princess line has been a staple on the screens since the 1930s (Do Rozario 1). However, these princesses have gone through dramatic changes to remain relevant to todays youth. The effects that can be influenced by the roles expressed in these types of films send mixed messages to the audience, causing them to ask themselves whether or not they should believe what the princess is expressing on the screen.
For decades Disney has been the source of happy endings, fairytales, and family friendly stories for children of all ages. These stories range from realistic and familiar, to the eye-catching magical fairytale. The key to each of these stories are the happy endings brought about by each of the characters unique personalities and dreams. Disney’s films are attempted to provide children with the basic understanding of wrong versus right, but instead influences our society’s beliefs and awareness. Although Disney’s efforts to provide the basic morals to our children are misleading and affect our society strongly, they also contain the use of racism in a form which shows the major differences between characters. The once admired and well-known characters are seemed to be recognized by their species, ethnicity and even their social class. Disney films have taken out of context and have persuaded their viewers understanding of racial stereotyping, which is thoroughly explained in Henry Giroux and Grace Pollock’s novel, The Mouse that Roared. They bring awareness to the underlying racial stereotyping in Disney films, which deeply affect our societies understanding today. Giroux and Pollock bring into perception these admired and regularly watched films through precise examples and racist rendering of the specific characters species and ethnicities which strongly influence our society and lead children to intake these negative influences.
Where most children’s movies start with a narrated backstory, like in Beauty and the Beast, or a tragedy like in Frozen, this film begins with the creation of a doll. The doll is not ordinary, nor are the hands that build it, as they are almost mechanical in origin. The doll created by these strange hands is revealed to be an exact replica of the film’s protagonist, Coraline, who has recently moved into an old house inhabited by rather strange neighbors. Feeling neglected by her busy parents, who are barely able to tear themselves away from their computers long enough to pay attention to her, Coraline explores her new home. After a short time, she discovers a small, hidden door that seemingly leads to nowhere. That night, the door magically opens. She crawls through into a surreal, parallel world whose occupants mirror those in her own world except for one small detail; they have buttons for eyes. Her “other parents” are the exact opposite of her real ones, as they listen to Coraline and care about her opinions. Their attention keeps drawing Coraline from the real world to the parallel one. She is offered a place in this “perfect” world, but she must become like the other inhabitants. She must replace her eyes with buttons. Horrified by the Other Mother’s offer, Coraline does all she can to escape the parallel world and return to her true home, dull as it may