New PDF release: Animation (Pocket Essential series)

By Mark Whitehead

ISBN-10: 1903047463

ISBN-13: 9781903047460

Pocket necessities is a dynamic sequence of books which are concise, energetic, and straightforward to learn. jam-packed with proof in addition to professional reviews, each one publication has the entire key details you must find out about such renowned subject matters as movie, tv, cult fiction, background, and extra. From the instant Mickey Mouse stepped aboard Steamboat Willie, animation has been an international phenomenon. no matter if its insects Bunny or Tom and Jerry, or rookies like Wallace & Gromit and Toy Story's Woody & Buzz, animation keeps to create characters which are enjoyed by means of little ones of every age. For the 1st time, Jeremy Clarke brings jointly the innovators of animation from round the world—Japan's mythical Hayao Miyazaki, Czech surrealist Jan Svankmajer, American CGI wizard John Lassiter, and Britain's personal maestro Nick Park—in one quantity masking every thing from the vintage to the leading edge.

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Additional info for Animation (Pocket Essential series)

Sample text

By the appearance of the first colour Mickey Mouse short in 1935, Walt was already planning the company’s most ambitious project yet. Although, of course, outside the US, he had already been beaten both by the allegedly hour-long (no prints survive) Argentinian political satire El Apóstol (1917) animated by Quirino Cristiani; and definitively by Lotte Reiniger’s The Adventures of Prince Ahmed. Walt’s other reason was financial – while the animated shorts were successful, their costs were rising and revenue was slow to accumulate.

It was just after Skeleton Dance that Iwerks left Disney, having become increasingly dissatisfied with Walt’s habit of altering animators’ work after close of shop. Believing quality drew greater rewards, Iwerks had irked Walt by creating all of Skeleton Dance himself. Walt felt his most experienced (and expensive) animator should be using inbetweeners and getting on with more important things. Iwerks signed with Powers and set up his own studio. Believing that Disney had lost its essence with Iwerks, Carl Stalling also left.

Much of the production responsibilities were handed to the studio’s veterans, especially the ‘Nine Old Men’ (Milton Kahl, Marc Davis, Eric Larson, Wolfgang Reitherman, Les Clark, Ward Kimball, John Lounsbery, Frank Thomas and Ollie Johnston). Despite its critics, Disneyland’s profits probably saved the studio which had taken another beating with the poor box-office reception of Sleeping Beauty (1959), which many considered as Snow White reheated. As before, the next film, One Hundred and One Dalmatians (1961) was deliberately cheaper.

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Animation (Pocket Essential series) by Mark Whitehead


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