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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. -
The Top 101 Inspirational Movies –
The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan Published by Self Improvement Online, Inc. http://www.SelfGrowth.com 20 Arie Drive, Marlboro, NJ 07746 ©Copyright by David Riklan Manufactured in the United States No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the Publisher. Limit of Liability / Disclaimer of Warranty: While the authors have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents and specifically disclaim any implied warranties. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. The author shall not be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. The Top 101 Inspirational Movies – http://www.SelfGrowth.com The Top 101 Inspirational Movies Ever Made – by David Riklan TABLE OF CONTENTS Introduction 6 Spiritual Cinema 8 About SelfGrowth.com 10 Newer Inspirational Movies 11 Ranking Movie Title # 1 It’s a Wonderful Life 13 # 2 Forrest Gump 16 # 3 Field of Dreams 19 # 4 Rudy 22 # 5 Rocky 24 # 6 Chariots of -
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. -
Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
Disney Princesses Trivia Quiz
DISNEY PRINCESSES TRIVIA QUIZ ( www.TriviaChamp.com ) 1> Which princess has the ability to heal? a. Pocahontas b. Jasmine c. Rapunzel d. Megara 2> Which Disney princess is Scottish? a. Jasmine b. Merida c. Megara d. Mulan 3> Which princess sings the song entitled Part of this World? a. Belle b. Ariel c. Tiana d. Pocahontas 4> Which princess wears a green dress? a. Tiana b. Cinderella c. Aurora d. Belle 5> Who is the daughter of King Stefan and Queen Leah? a. Adrina b. Aurora c. Dot d. Eden 6> Which Princess falls in love with Eric? a. Eric b. Ariel c. Belle d. Tiana 7> Which princess is an excellent cook? a. Pocahontas b. Tiana c. Ariel d. Megera 8> What color does Rapunzel wear? a. Yellow b. Purple c. Blue d. Green 9> Which Disney princess dances with an owl? a. Aurora b. Jasmine c. Megara d. Dot 10> Which princess is asked to pour tea for the matchmaker? a. Mulan b. Pocahontas c. Ariel d. Belle 11> Which princess lives in Agrahba? a. Anna b. Jasmine c. Belle d. Rapunzel 12> Which princess falls in love with a thief? a. Cinderella b. Rapunzel c. Merida d. Snow White 13> Which Princess wears pants as part of her "official" costume? a. Belle b. Snow White c. Jasmine d. Cinderella 14> Which princess sings A Dream is a Wish Your Heart Makes? a. Snow White b. Aurora c. Cinderella d. Belle 15> Which princess is invited to be the dinner guest in a magical castle? a. Megara b. -
Saving Bacon Fat and Meat Drippings: the Disney Way by David Bossert
Saving Bacon Fat and Meat Drippings: The Disney Way By David Bossert (A still frame of Minnie and Pluto from Out of the Frying Pan and into the Firing Line; animation is credited to John Lounsbery. ©Disney) Do you remember your mother or maybe your grandmother saving the grease leftover from cooking bacon or other types of meat? She would have collected it in an old metal coffee can and kept in the refrigerator. Maybe I am dating myself, but I remember that vividly from when I was in elementary school. There was usually a wide-mouth red Folgers coffee can on the top shelf of the refrigerator that my mother poured grease into after cooking bacon on a weekend morning. Collecting bacon grease and meat drippings was a practice that was encouraged during World War II when conservation and rationing of goods was the norm. In 1942, the Disney Studios created a public service announcement (PSA), Out of the Frying Pan and into the Firing Line, which was an incentive film like the income tax pictures and was made for cost. The story showed “the importance of housewives saving waste fats for the purpose of making shells and explosives.” The film was made for the Conservation Division of the War Production Board an agency established by Executive Order 9024 issued by President Roosevelt in January 1942. (This poster from 1943 emphasizes the importance of housewives playing their part in the war effort by saving leftover waste fats from the kitchen. Waste fats turned in at an official collection station were exchanged for cash, around .04 cents per pound, ration coupons, or meat products; Artist: Walter Richards.) Minnie Mouse starred as the typical all-American housewife doing her part for the war effort and her dog, Pluto. -
Media Arts Design 1
Media Arts Design 1 • Storyboarding Certificate (https://catalog.nocccd.edu/cypress- MEDIA ARTS DESIGN college/degrees-certificates/media-arts-design/storyboarding- certificate/) Division: Fine Arts Courses Division Dean MAD 100 C Introduction to Media Arts Design 3 Units Dr. Katy Realista Term hours: 36 lecture and 72 laboratory. This course focuses on the use of digital design, video, animation and page layout programs. This course Faculty is designed for artists to design, create, manipulate and export graphic Katalin Angelov imagery including print, video and motion design elements. This course is Edward Giardina intended as a gateway into the varied offerings of the Media Arts Design program, where the student can pursue more in-depth study on the topic(s) Counselors that most attracted them during this introductory class. $20 materials fee payable at registration. (CSU, C-ID: ARTS 250) Renay Laguana-Ferinac MAD 102 C Introduction to WEB Design (formerly Introduction to WEB Renee Ssensalo Graphics-Mac) 3 Units Term hours: 36 lecture and 72 laboratory. This course is an overview of the Degrees and Certificates many uses of media arts design, with an emphasis on web publishing for • 2D Animation Certificate (https://catalog.nocccd.edu/cypress- the Internet. In the course of the semester, students create a personal web college/degrees-certificates/media-arts-design/associate-in-science- page enriched with such audiovisual elements as animation, sound, video in-film-television-and-electronic-media-for-transfer-degree/) and different types of still images. This course is intended as a gateway into • 3D Animation Certificate (https://catalog.nocccd.edu/cypress- the varied offerings of the Media Arts Design program, where the student college/degrees-certificates/media-arts-design/3d-animation- can pursue more in-depth study on the topics that most attracted them certificate/) during this introductory class. -
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
Film Is GREAT, Edition 2, November 2016
©Blenheim Palace ©Blenheim Brought to you by A guide for international media The filming of James Bond’s Spectre, Blenheim Palace, Oxfordshire visitbritain.com/media Contents Film is GREAT …………………………………………………………........................................................................ 2 FILMED IN BRITAIN - British film through the decades ……………………………………………………………………………………….. 9 - Around the world in British film locations ……………………………………………….…………………........ 15 - Triple-take: Britain's busiest film locations …………………………………………………………………….... 18 - Places so beautiful you'd think they were CGI ……………………………………………………………….... 21 - Eight of the best: costume dramas shot in Britain ……………………………………………………….... 24 - Stay in a film set ……………………………………………………………………………………………………………...... 27 - Bollywood Britain …………………………………………………………………………………………………………….... 30 - King Arthur's Britain: locations of legend ……………………………………………………………………...... 33 - A galaxy far, far away: Star Wars in Britain .…………………………………………………………………..... 37 ICONIC BRITISH CHARACTERS - Be James Bond for the day …………………………………………………………………………………………….... 39 - Live the Bridget Jones lifestyle ……………………………………………………………………………………..... 42 - Reign like King Arthur (or be one of his knights) ………………………………………………………….... 44 - A muggles' guide to Harry Potter's Britain ……………………………………………………………………... 46 FAMILY-FRIENDLY - Eight of the best: family films shot in Britain ………………………………………………………………….. 48 - Family film and TV experiences …………………….………………………………………………………………….. 51 WATCHING FILM IN BRITAIN - Ten of the best: quirky -
Maleficent's Character Development As Seen In
MALEFICENT’S CHARACTER DEVELOPMENT AS SEEN IN MALEFICENT MOVIE A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining The Bachelor Degree in English Literature By : Nur Asmawati 10150043 ENGLISH DEPARTEMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2015 PERUBAHAN KARAKTER MALEFICENT SEPERTI YANG TERGAMBAR DALAM FILM MALEFICENT Oleh Nur Asmawati ABSTRAK Skripsi ini berjudul “Perubahan Karakter Maleficent dalam Film Maleficent”. Maleficent adalah karakter utama dalam film Maleficent karya Joe Roth. Movie ini menarik untuk di analisis karakter utama Maleficent tersebut mengalami perubahan dari seorang peri yang baik menjadi peri yang jahat. Perubahan ini disebabkan oleh cintanya pada manusia bernama Stefan dan kemudian dan mendapat penghianatan. Data yang diambil dari film untuk analisis ini adalah naskah film tersebut. Metode analisis data merupakan penelitian deskriptif kualitatif. Penulis menggunakan teori struktural khususnya teori perubahan karakter, teori tersebut berhubungan dengan gagasan perubahan karakter yang di usulkan oleh William Kenny. Kesimpulan dari penelitian ini adalah Maleficent sebagai tokoh utama dalam film Maleficent mengalami perubahan karakter. Dalam cerita, Maleficent mengalami dua perubahan karakter yaitu, pertama karakter baik berubah menjadi karakter buruk, dan buruk karakter menjadi baik. Dalam perubahan karakter dari baik menjadi buruk disebabkan oleh dari berjiwa kepemimpinan dan persahabatan dan memiliki dendam dan dari mempunyai rasa cinta dan mengasihani menjadi marah dan benci. Sedangakan perubahan karakter dari buruk menjadi baik hanya karena dari rasa benci dan marah menjadi cinta dan menjadi kasihan Kata Kunci : Tokoh, Film, Perubahan Karakter. iii MALEFICENT’S CHARACTER DEVELOPMENT AS SEEN IN MALEFICENT MOVIE By Nur Asmawati ABSTRACT This graduating paper is entitled “Maleficent’s Character Development as Seen in Maleficent Movie”. -
Walt Disney's Sleeping Beautywalt Disney's Sleeping Beauty Once
Walt Disney's Sleeping BeautyWalt Disney's Sleeping Beauty Once upon a time, in a kingdom far away, a beautiful princess was born ... a princess destined by a terrible curse to prick her finger on the spindle of a spinning wheel and become Sleeping Beauty. Masterful Disney animation and Tchaikovsky's celebrated musical score enrich the romantic, humorous and suspenseful story of the lovely Princess Aurora, the tree magical fairies Flora, Fauna and Merryweather, and the valiant Prince Phillip, who vows to save his beloved princess. Phillips bravery and devotion are challenged when he must confront the overwhelming forces of evil conjured up by the wicked and terrifying Maleficent. Embark on a spectacular adventure of unprecedented scale and excitement in this thrilling, timeless Disney Classic. distributed by Buena Vista film distribution co., inc. Walt Disney presents Sleeping Beauty Technirama(r) Technicolor(r) With the Talents of Mary Costa Bill Shirley Eleanor Audley Verna Felton Barbara Luddy Barbara Jo Allen Taylor Holmes Bill Thompson Production Supervisor . Ken Peterson Sound Supervisor . Robert O. Cook Film Editors . Roy M. Brewer, Jr. Donald Halliday Music Editor . Evelyn Kennedy Special Processes . Ab Iwerks Eustace Lycett (c)Copyright MCMLVIII - Walt Disney Productions - All Rights Reserved Music Adaptation George Bruns Adapted from Tchaikovsky's "Sleeping Beauty Ballet" Songs 1 George Bruns Erdman Penner Tom Adair Sammy Fain Winston Hibler Jack Lawrence Ted Sears Choral Arrangements John Karig Story Adaptation Erdman Penner From the Charles Perrault version of Sleeping Beauty Additional Story Joe Kinaldi Winston Hibler Bill Peet Ted Sears Ralph Wright Milt Banta Production Design Don Da Gradi Ken Anderson McLaren Stewart Tom Codrick Don Griffith Erni Nordli Basil Davidovich Victor Haboush Joe Hale Homer Jonas Jack Huber Kay Aragon Color Styling Eyvind Earle Background Frank Armitage Thelma Witmer Al Dempster Walt Peregoy Bill Layne Ralph Hulett Dick Anthony Fil Mottola Richard H.