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The Disney Strike of 1941: from the Animators' Perspective Lisa Johnson Rhode Island College, Ljohnson [email protected]
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2008 The Disney Strike of 1941: From the Animators' Perspective Lisa Johnson Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Labor Relations Commons, Other Film and Media Studies Commons, Social History Commons, and the United States History Commons Recommended Citation Johnson, Lisa, "The Disney Strike of 1941: From the Animators' Perspective" (2008). Honors Projects Overview. 17. https://digitalcommons.ric.edu/honors_projects/17 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. The Disney Strike of 1941: From the Animators’ Perspective An Undergraduate Honors Project Presented By Lisa Johnson To The Department of History Approved: Project Advisor Date Chair, Department Honors Committee Date Department Chair Date The Disney Strike of 1941: From the Animators’ Perspective By Lisa Johnson An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of History The School of the Arts and Sciences Rhode Island College 2008 1 Table of Contents Introduction Page 3 I. The Strike Page 5 II. The Unheard Struggles for Control: Intellectual Property Rights, Screen Credit, Workplace Environment, and Differing Standards of Excellence Page 17 III. The Historiography Page 42 Afterword Page 56 Bibliography Page 62 2 Introduction On May 28 th , 1941, seventeen artists were escorted out of the Walt Disney Studios in Burbank, California. -
Digital Surrealism: Visualizing Walt Disney Animation Studios
City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns. -
Available Papers and Transcripts from the Society for Animation Studies (SAS) Annual Conferences
SAS Conference papers Pagina 1 NIAf - Available papers and transcripts from the Society for Animation Studies (SAS) annual conferences 1st SAS conference 1989, University of California, Los Angeles, USA Author (Origin) Title Forum Pages Copies Summary Notes Allan, Robin (InterTheatre, European Influences on Disney: The Formative Disney 20 N.A. See: Allan, 1991. Published as part of A Reader in Animation United Kingdom) Years Before Snow White Studies (1997), edited by Jayne Pilling, titled: "European Influences on Early Disney Feature Films". Kaufman, J.B. (Wichita) Norm Ferguson and the Latin American Films of Disney 8 N.A. In the years 1941-43, Walt Disney and his animation team made three Published as part of A Reader in Animation Walt Disney trips through South America, to get inspiration for their next films. Studies (1997), edited by Jayne Pilling. Norm Ferguson, the unit producer for the films, made hundreds of photo's and several people made home video's, thanks to which Kaufman can reconstruct the journey and its complications. The feature films that were made as a result of the trip are Saludos Amigos (1942) and The Three Caballero's (1944). Moritz, William (California Walter Ruttmann, Viking Eggeling: Restoring the Aspects of 7 N.A. Hans Richter always claimed he was the first to make absolute Published as part of A Reader in Animation Institute of the Arts) Esthetics of Early Experimental Animation independent and animations, but he neglected Walther Ruttmann's Opus no. 1 (1921). Studies (1997), edited by Jayne Pilling, titled institutional filmmaking Viking Eggeling had made some attempts as well, that culminated in "Restoring the Aesthetics of Early Abstract the crude Diagonal Symphony in 1923 . -
Edmund Dulac
Edmund Dulac JONKERS RARE BOOKS EDMUND DULAC JONKERS RARE BOOKS 1. Stories From The Arabian Nights Retold by Laurence Housman DULAC, Edmund Hodder and Stoughton, 1907. First Dulac edition, Edition de Luxe. Number 188 of 350 deluxe copies signed by Edmund Dulac. 4to. Full white vellum with gilt lettering and vignettes in blue and gold. Top edge gilt and others untrimmed. Printed on hand made paper. Colour frontis and 49 other colour plates all mounted onto grey art paper and protected by captioned tissue guards. A near fine, bright copy of Dulac’s first major gift book. Vellum uncommonly clean, occasional spots of foxing to the tissue guards. [39778] £2,750 This book is Dulac’s first major commission. It is an impressive volume, including stories from the Arabian Nights, such as Ali Baba and the Forty Thieves and The King of the Ebony Isles. The publishers commis- sioned Dulac with the aim of competing for market share with the books illustrated by Arthur Rackham. This deluxe version of the Christmas Gift Book showed what a good choice they made. Dulac’s colour palette of deep blue shades is a triumph, transporting the reader to the sultry evenings of the Middle East. EDMUND DULAC JONKERS RARE BOOKS 2. Stories From The Arabian Nights Retold by Laurence Housman DULAC, Edmund Hodder and Stoughton, 1907. First edition. 4to. Brown buckram with embossed decoration in gilt and blue. Colour frontis and 49 other colour plates all mounted onto grey art paper and protected by captioned tissue guards. The pates are fresh and crisp, not creasing, although one has a tiny corner scuff. -
Women's Desires and Identity in Stella Gibbons's Gothic London By
Studies in Gothic Fiction • Volume 6 Issue 1 • 2018 © 4 “A Pleasure of that Too Intense Kind”: Women’s Desires and Identity in Stella Gibbons’s Gothic London by Rebecca Mills Article DOI: https://doi.org/10.18573/sgf.32 Copyright Rebecca Mills 2020 ISSN: 2156-2407 This work is licensed under the Creative Commons Attribution 4.0 International Licence. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/ Studies in Gothic Fiction • Volume 6 Issue 2 • 2020 © 5 Articles “A Pleasure of that Too Intense Kind”: Women’s Desires and Identity in Stella Gibbons’s Gothic London Article DOI: https://doi.org/10.18573/sgf.32 Rebecca Mills Abstract Stella Gibbons (1902-1989) is best known for the rural novel Cold Comfort Farm (1932), which Avril Horner and Sue Zlosnik discuss as “comic Gothic.” In contrast, Gibbons’s little-studied Hampstead novels Westwood (1946) and Here Be Dragons (1956) map a mel- ancholic Gothic fragmented city, marked by the Second World War, in which romantic attachment and marriage threaten young women’s comfort, self-sufficiency, and subjectivity. Excessive emotion and eroticism imperil women’s independence and identity, while the men they desire embody the temptation and corruption of the city. Gibbons employs Gothic language of spells, illusion, and entrapment to heighten anxieties around stifling domesticity and sacrificing the self for love. The London Gothic geogra- phies, atmosphere, and doubling of characters and spaces reinforce cautionary tales of the ill-effects of submission to love, while dedication to a career and community are offered as a means to resist Gothic desires and control Gothic spaces. -
The Illusion of Life: Disney Animation Interactive Edition
The Illusion of Life: Disney Animation Interactive Edition By Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology University of Cincinnati College of Applied Science June 2006 The Illusion of Life: Disney Animation Interactive Edition by Michelle L. Walsh Submitted to the Faculty of the Information Technology Program in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science in Information Technology © Copyright 2006 Michelle Walsh The author grants to the Information Technology Program permission to reproduce and distribute copies of this document in whole or in part. ___________________________________________________ __________________ Michelle L. Walsh Date ___________________________________________________ __________________ Sam Geonetta, Faculty Advisor Date ___________________________________________________ __________________ Patrick C. Kumpf, Ed.D. Interim Department Head Date Acknowledgements A great many people helped me with support and guidance over the course of this project. I would like to give special thanks to Sam Geonetta and Russ McMahon for working with me to complete this project via distance learning due to an unexpected job transfer at the beginning of my final year before completing my Bachelor’s degree. Additionally, the encouragement of my family, friends and coworkers was instrumental in keeping my motivation levels high. Specific thanks to my uncle, Keith -
John Guest Collection MS 4624 a Collection of Around 500 Personal
University Museums and Special Collections Service John Guest Collection MS 4624 A collection of around 500 personal and business letters from over 100 literary figures. They include 52 letters from Sir John Betjeman 1949-1979; 33 letters from Christopher Fry 1949-1989; 25 letters from Mary Renault 1960-1983, with further letters from her partner Julie Mullard and obituaries; 25 letters from Harold Nicolson 1949-1962; 17 letters from David Storey 1963-1994; 26 letters from Francis King 1950-1957, mainly concerning his British Council service in Greece; 12 letters from L.P. Hartley 1966-1970; 18 letters from William Plomer 1966-1972, mostly concerning the judging of the Cholmondeley Award for Poetry; 12 letters from Joan Hassall c.1954-1987; 12 letters from Laurence Whistler 1955-1986; 14 letters from A.N. Wilson 1979-1988, and 14 letters from Mary Wilson 1969-1986. Other correspondents include Rupert Hart-Davis, Christopher Hibbert, Mollie Hamilton (M.M. Kaye), Irene Handl, Stevie Smith, Stephen Spender and Muriel Spark. The Collection covers the year’s c. 1949-1991. The physical extent of the collection is c. 500 items. Introduction John Guest was born in 1911 in Warrington, Cheshire, and was educated at Fettes, Edinburgh, and Pembroke College, Cambridge. He was first employed in the publishing industry as a proofreader and subsequently junior editor for Collins, before serving in an artillery regiment during the war. In 1949 he was appointed literary advisor to the publishing firm Longmans, with a brief to rebuild their general trade list, at which he was very successful. He subsequently held the same position at Penguin Books, after the merger with Longmans in 1972, where he remained until his retirement. -
The Disney Bloodline
Get Your Free 150 MB Website Now! THE SKILL OF LYING, THE ART OF DECEIT The Disney Bloodline The Illuminati have refined the art of deception far beyond what the common man has imagined. The very life & liberty of humanity requires the unmasking of their deceptions. That is what this book is about. Honesty is a necessary ingredient for any society to function successfully. Deception has become a national pastime, starting with our business and political leaders and cascading down to the grass roots. The deceptions of the Illuminati's mind-control may be hidden, but in their wake they are leaving tidal waves of distrust that are destroying America. While the CIA pretend to have our nations best interest at heart, anyone who has seriously studied the consequences of deception on a society will tell you that deception will seriously damage any society until it collapses. Lies seriously damage a community, because trust and honesty are essential to communication and productivity. Trust in some form is a foundation upon which humans build relationships. When trust is shattered human institutions collapse. If a person distrusts the words of another person, he will have difficulty also trusting that the person will treat him fairly, have his best interests at heart, and refrain from harming him. With such fears, an atmosphere of death is created that will eventually work to destroy or wear down the cooperation that people need. The millions of victims of total mind- control are stripped of all trust, and they quietly spread their fears and distrust on a subconscious level throughout society. -
Catalogue 143 ~ Holiday 2008 Contents
Between the Covers - Rare Books, Inc. 112 Nicholson Rd (856) 456-8008 will be billed to meet their requirements. We accept Visa, MasterCard, American Express, Discover, and Gloucester City NJ 08030 Fax (856) 456-7675 PayPal. www.betweenthecovers.com [email protected] Domestic orders please include $5.00 postage for the first item, $2.00 for each item thereafter. Images are not to scale. All books are returnable within ten days if returned in Overseas orders will be sent airmail at cost (unless other arrange- the same condition as sent. Books may be reserved by telephone, fax, or email. ments are requested). All items insured. NJ residents please add 7% sales tax. All items subject to prior sale. Payment should accompany order if you are Members ABAA, ILAB. unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. Institutions Cover verse and design by Tom Bloom © 2008 Between the Covers Rare Books, Inc. Catalogue 143 ~ Holiday 2008 Contents: ................................................................Page Literature (General Fiction & Non-Fiction) ...........................1 Baseball ................................................................................72 African-Americana ...............................................................55 Photography & Illustration ..................................................75 Children’s Books ..................................................................59 Music ...................................................................................80 -
DIZGRUNTLED a Play by Daniel Rover Singer © 2020 Daniel Singer
DIZGRUNTLED A Play by Daniel Rover Singer © 2020 Daniel Singer Fantasy and reality clash when a movie director, hired to helm a documentary about how cartoons are made, finds himself at the world’s most famous animation studio in the middle of a polarizing labor strike. Suggested by real events at the Walt Disney Studio in 1941. NOTICE! Your use of this script acknowledges that you agree, under penalty of prosecution, that it shall remain confidential and proprietary, and shall not be shared, duplicated or distributed in any manner. This play shall not be performed, filmed, interpreted, translated, published or used in any manner without the written permission of the author, and in most cases, payment of a royalty. For further information, contact the playwright at [email protected]. CHARACTERS (Minimum 6 men, 1 woman playing multiple roles) ALFRED WERKER, 45, a freelance film director WALT DISNEY, 30-45, producer of animated cartoons NORM FERGUSON, 28-38, animator of “Pluto” ART BABBITT, 34, animator of “Goofy” MRS. BENCHLEY, 50, a fictitious wife HELEN BLUME, 30, an artist COMMIE RABBLE-ROUSER STUDIO GUARD HUMPHREY, 25, an uptight studio page ARTISTS/STRIKERS CAMERA OP/SOUND TECH HUAC CHAIRMAN The action takes place at the Disney Studio in Burbank, California in 1941 (additional scenes span 1931-1947). Simplistic set units slide on and off quickly so that the action is continuous. Settings: Walt’s Office, A Living Room, Animator’s Office, Studio Campus, Soundstage, Screening Room, Café. “DIZGRUNTLED” © 2020 Daniel Singer Draft 2/15/21 2 PROLOGUE (AL WERKER, an enthusiastic, midwestern man of 45, enters and addresses the audience. -
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Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) Edmund Dulac's Book Graphics and the Problem of Orientalism in British Illustration of Edwardian Era and the Second Decade of XXth Century Dmitry Lebedev Department of Modern and Contemporary Western Art State Institute for Art Studies (SIAS) Moscow, Russia E-mail: [email protected] Abstract—At the turn of the XIX-XX centuries, Europe- of oriental XIXth and early XXth century artists. Though in wide enthusiasm about the Eastern art, which varied from reality the term is much more layered, because it Iranian miniature to Japanese engraving, led to the popularity incorporates not only the use of Oriental motifs, but also a of many artists whose works were impacted by Orientalism. In deep imitation of the style and composition of the Eastern art, these circumstances, large London publishers, annually understanding of their narrative and coloristic structures. The producing luxury gift books for Christmas, trying to adjust to use of this art and its achievements sometimes even led to the mass excitement around the Eastern art, invited young and new artistic forms arising from a synthesis of cultures. promising graphic artists to illustrate these publications. Among the invited artists who actively cooperated with such In the mid-nineteenth century Eastern countries were publishers was the outstanding French-English illustrator represented in the European paintings in the classical Edmund Dulac (1882-1953). The article reveals one of the key (academic) manner that was understandable and clear to the aspects of Dulac's oeuvre. -
Stella Gibbons, Ex-Centricity and the Suburb'
'Stella Gibbons, ex-centricity and the suburb' Outside the window, rows of little houses and gardens went past, with occasionally one of those little ruins that may be seen all up and down the railway lines of Greater London since the autumn of 1940, and in the blue sky the balloon barrage was anchored low above the roofs and gleamed pure silver in the evening light. The train was just leaving the suburbs and the barrage and entering the unprotected country. Shame, thought Alicia, who, like many other people, was rather fond of the balloons. - Stella Gibbons, The Bachelor (28) In The Intellectuals and the Masses (1992), John Carey writes: 'The rejection by intellectuals of the clerks and the suburbs meant that writers intent on finding an eccentric voice could do so by colonizing this abandoned territory. The two writers who did so were John Betjeman and Stevie Smith' (66). Whilst Carey's insight forms a useful starting point for this discussion, his restriction of the suburban literary terrain to just two writers must be disputed. Many other names should be added to the list, and one of the most important is Stella Gibbons, who wrote in - and about - the north London suburbs throughout her career. Her novels resist the easy assumption that suburban culture is unchallenging, intelligible, homogenous and highly conventional. Gibbons's fictional suburbs are socially and architecturally diverse, and her characters – who range from experimental writers to shopkeepers - read and interpret suburban styles and values in varying and incompatible ways. At times, she explores the traditional English ways of life which wealthy suburb dwellers long for and seek to recreate; at other times, she identifies the suburb with the future, with technology, innovation and evolving social structures.