DOCSLIB.ORG

Link to Magazine Issue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Link to Magazine Issue 1iil' THE MAGAZINE OF THE SOUTHERN OREGON HISTORICAL SOCIETY •••• .!!!!. \' 0 I <: I: ~ "What's Cookin'? Two Centuries of American Foodways On exhibit at the HISTORY CENTER MAY 5 - AUGUST 17 OR MOST OF US , FOOD IS MORE THAN FUEL FOR OUR BODIES. What we choose to eat depends upon our family traditions, ethnic heritage, and regional customs. F Whom we choose to eat with defines our circle of family and friends. Eating together is an important family ritual. Good manners often were equated with virtue, and family dinner times taught youngsters proper mealtime behavior. While immigrants who did not adopt traditional Anglo-American foods were criticized by social workers for their "un-American" eating habits, native-born Americans began to encounter and enjoy immigrant cuisines in restaurants. Southern cuisine was based on such standards as fried chicken, cornbread, and greens cooked with pork. In the Middle Atlantic states sausages, pickles, hot salads, and slaw were favorites. New Englanders enjoyed bean dinners and brown bread, and Texans loved their chili, burritos, and tamales. By the turn of the twentieth century Americans were eating more and eating better than ever before. What's Cookin'? explores the many aspects of the foods we eat, as well as how we prepare and serve them. Twelve exhibit panels provide an overview of the impact of immigration, changes in food technology, changes in food preparation, and changing images of what constitutes healthy eating. A vast array of cooking equipment from the Society's collection--stoves, refrigerators, kitchen and dining room furniture, picnic supplies, food packaging, china and tableware, kitchen linens and aprons will provide a feast for the eyes. What's Cookin'? was produced by the R ogers Dorich Ranch housekeeper, near Historical Museum, R ogers, Arkansas, and supported Talent, March 13, 1937. in part by a grantfrom the H istorical R esources and Museums Services section ofArkansas State Parks in the D epartment ofPa rks and Tourism. ~ontinuedfrompagelS} --------------------------------------------------------------------------------------------- FRIEND Laurie Teply, Medford EDUCATIONCOU£CTION Georgette Tingle Mr. and Mrs. C.L. McBeth,]acksonville Elva M. Tepper, Shady Cove Randy Bates Bruce Viar Eunice McCann, Medford James Trecker, Park R idge, IL Virginia Carrillo Ronald A. Walch Beverly A. McKey, Eagle Point Toni Van DeWeghe, Central Point Peggyann Hutchinson Ruth Warner Betty P. McLaughlin, Medford Mary Vandenberg, Medford Oregon Shakespeare Festival/Kit Leary Alfred R. Mercer, Medford James F. Verdieck, Medford Neil Thorsen ANNUAL CONTRIBUTOru Emmy Lou Merriman, Central Point Bill Wahl, Ashland Georgette L.Tingle Mr. and Mrs. Clyde Bilyeu Mr. and Mrs. Thomas Walker, Sams Valley Gladys Koepke Ed Milne, M edford GENERAL COLLECTION Geraldine Moody, Medford Claud-Marie Ward, A shland Mr. and Mrs. Lee Simmons Rick Aubin Dr. Eric Morrell and M atty McGuire, D r. Robert M. Weiss, Medford Ecotrust!Nancy Church Medford Mr. and Mrs. Burleigh E. Wheldon, Southern Oregon Bettie Newland, Medford Medford Lucile Gann Historical Society Bill Ostrander, Ashland Marge E. Williams, Talent Michael Goodale Foundation Ruth Parker, Medford Gertrude C. Woods, Ashland W alt Hoffbuhr Marjorie Peterson, Central Point Andrew Lennert ENDOWMENT FUND Stephen R. Mark Bill Philp, Medford Donors Mary A. Delsman James A. McReynolds Phoenix Chamber of Commerce, Jeff LaLande IN KIND Lynn Newbry Phoenix Mr. and Mrs. Lloyd Selby, Medfor• Betty L. Pratt, Medford Deli Down Judson Parsons Claudette M . Pruitt, Grants Pass Charlotte C. Powell CIRCLES OF GMNG Dorothy Satre, Central Point SPECIAL CONTRIBUTIONS Betty Root Dorann H . Gunderson Bob Schroeter,]acksonville Gold Diggers' Guild David Scafani Joyce Hailicka Roy F. Simmons, Eagle Point Alan Neal/IBM, corporate matching gift Mary Ames Sheret Mr. and Mrs. Hank Hart Lorraine Stern, Central Point Darigold/Steve Wilkins Pat Smith May 2 0 0 1 V o I. 3, No. 5 SOUTHERN OREGON HERITAGE TODAY SOUTHERN OREGON Editorial Guidelines eature articles average 3,000 to 4,000 (pre-edited) words. Other materials range from 500 to 1,000 words. Electronic Fsubmissions are accepted on 3-1/4-inch disks and should be accompanied by a hard-copy printout. Cite all sources and construct endnotes and cutlines using the Chicago Manual ofStyle. The author is responsible for verification of cited facts. A selection of HERITA~ professional, unscreened photographs and/or line art should accompal{i submission- black-and-white or color. The Southern ~ref:c~ o~ :~b~~r;J:~e;::ai~All !aer~f~tsh~~d ~e0 ~b7te~,~~ili author's name, mailing address, and telephone number. Manuscripts will be returned if accompanied by a self-addressed envelope stamped with sufficient hostage. Authors should provide a bnef auro}f!hr~~ili~r~otQ~! to~ eH~s~!r~~nuS~ifets. secures rights to full and final editing of~ manuscripts, layout design, and one-time North American serial ris:hts. Authors will be notified of acceptance of manuscripts within runety days of receiving materials. In most cases, payment is upon publication. Southem Oregon Heritage Today takes great care with all submitted material, but is not responsible for damage or loss. Only photocopies of irreplaceable original historical FEATU R E : documents should be submitted . Facts, views, and opinions expressed in signed submissions are those of the author and do not necessarily reflect the viewpoints or OP:inions of Southent Oregon The Rialto Theater­ Heritage Today or the Southern Oregon Historical Society. "Where Everybody Goes" by William Alley.. .... p. 8 DEPAHTi\1E:'\'T s FROM THE COLLECTION VOICES Pinto Colvig: A Clown at Heart p.2 by Mary A mes Sheret SOHS N E WS & NOTES p.4 THINGS T O D o: Exhibits and program updates and calendar p.6 ROOTED IN HISTORY MEMBERS & DON ORS Death Camas p . 15 by N an Han non and D onn L. Todt p. 13 PIONEER BIOGRAPHY Toggery Bill, of Course by Bill Alley p. 14 SUNDAY DRIVING Southern Oregon Historical Society's 0NTHECOVER Historic Hanley Farm Jacksonville native "Pinto" Colvig's zany p. 16 Hollywood career left us a legacy of laughter to remember him by. 1:~1'1 SOUTHERN llll HIS10RICAL Administrative Staff Collectio ns/Research Lib ra ry Staff OREGON !!~~ SOCIETY Brad Linder, EXECUTIVE DIRECfOR Mary Ames Sherer, CURATOR OF COllECTIONS AND EXHllliTS Maureen Smith, FlNANCFiOPERATIONS DIRECTOR J acque Sundstrand, UBRA.RY/ ARCHIVES COOlmiN..\TOR Southe rn Oregon Historical Society Board o f Trustees Amelia Chamberlain, PROGRAMS DIRECTOR Carol Harbison-Samuelsen, UBRARY MAN."-.GERIPHOTO ARCHIVIST Mujorie Overland, Medford, PRESIDFNl' Dorann G underson, DEVELOPMENT DIRECfOR William Alley, SENIOR HISTOR!ANIRESEARCH MANAGER Nancy Hamlin, Mdford, f1RST VJCE-PRESIDENT D arlene Turner, MARKETING/PUBUC REL\TIONS Bill Miller, UBR.ARY ASSISTANT H ank H art, Medford, SECOND VJCE-PRESIDFNI' Susan Cox-Smith, MEMBERSHIP COORDINATOR Southern Oregon Heritage Today Judi Drais, Medford, TREASURER is published monthly by the Southern Oregon Historical Society. Nancy McGrew, ]nchonvillt, SECRETARY Magazine S taff 106 N. Central Ave., MedfOrd, OR 97501-5926. Allen Alsing, Ashland Joy<e Hailiclm, Butte Falls Cynthia Wicklund, COMMUNICATIONS COORDIN.~TOR (541) 773-6536 Robert Cowling, Medford Reeve Hennion,jackson.,ille Bill Powell, GUEST EDITOR Copyrig ht 200 I by Southern Oregon Historical Society, ISSN Yvonne Earnest, Medford B.]. &ed, Mtdford Dana L. Hedrick, DESIGNER/PHOTOGRAPHER #1082-2003. All rights reserved. No part of this publication may be 3 H. Walter Emori, M.D.,jackonfJille Robert Stevens,jachonfJi!lt printed or electronically duplicated without the written permission of Jim Fety, &glte Riwr Neil Th;;;n;;rso~n::.O, M;,;;;:edzljg;;rd;;... _____.:. P.:.r::in,::t~i n~g, Ram Offset Lithographers,____ ~- the Southern Oregon Historical Socie~..~ ____ F H 0 M T H E COLLECTION ~~r~!~er~lvig :A.--- C_l_ow_ n ---,at...--H_ eart-----. IS VOICE lS KNOWN FAR AND WIDE. Who hasn't heard Disney cartoon H characters GoofY or Pluto? How about Grumpy and Sleepy or the practical pig in Three Little Pigs? Perhaps you learned to read while listening to ""Bozo the Capitol Record Clown." All these voices and more belonged to a talented writer, lyricist, musician, cartoonist, clown, and entertainer named Vance DeBar "Pinto" Colvig who was born in Jacksonville in 1892. Pinto began his long career as a newspaper cartoonist and writer, but he soon joined the AG. Barnes Circus as a clown. In the early 1920s, Pinto moved to Hollywood and worked as a title writer and comedian on silent comedies and early sound cartoons. In 1930, he signed an eight-year contract with Walt Disney. His next move was to Florida to work for Max Fleischer Studios on Above right, this ca. 1913 sequence animated films, and Pinto was soon offacial expressions hints at the providing voices and sound effects for radio variety of zany characters lurking programs, including "Amos 'n Andy" and inside Pinto's imagination. Above: "The Jack Benny Show" where he supplied grease paint, rouge and a wax nose the sounds made by Benny's "Maxwell" Car. and lips helped traniform Pinto In 1946 Pinto went to work for Capitol into one of his beloved clowns. Records and the "Bozo" legend began. Inspired by the lack of good albums for his own five children, Pinto created a storybook and record combination. It was a huge success that seems to have combined all of Pinto's extraordinary talents and made him a household name for generations. After his death in 1967, Pinto's family donated many mementos of his long career to the Southern Oregon Historical Society. I Pinto used this carpetbag, decorated with corncobs and clown noses, as a stage prop and marked it 'Jayville, Oregon," in honor of his hometown. 4 VOL . 3 , NO 5 Two of Pinto~ hats, one of them a handpainted clown~ cap, and the other embellished with sequins, bells, andpolka dots. At right, in 1993, Disney Studios posthumously recognized Pinto~ considerable contribution to Disney lore with this ''Legends" award.
Load more

Recommended publications
  • The Immersive Theme Park
    THE IMMERSIVE THEME PARK Analyzing the Immersive World of the Magic Kingdom Theme Park JOOST TER BEEK (S4155491) MASTERTHESIS CREATIVE INDUSTRIES Radboud University Nijmegen Supervisor: C.C.J. van Eecke 22 July 2018 Summary The aim of this graduation thesis The Immersive Theme Park: Analyzing the Immersive World of the Magic Kingdom Theme Park is to try and understand how the Magic Kingdom theme park works in an immersive sense, using theories and concepts by Lukas (2013) on the immersive world and Ndalianis (2004) on neo-baroque aesthetics as its theoretical framework. While theme parks are a growing sector in the creative industries landscape (as attendance numbers seem to be growing and growing (TEA, 2016)), research on these parks seems to stay underdeveloped in contrast to the somewhat more accepted forms of art, and almost no attention was given to them during the writer’s Master’s courses, making it seem an interesting choice to delve deeper into this subject. Trying to reveal some of the core reasons of why the Disney theme parks are the most visited theme parks in the world, and especially, what makes them so immersive, a profound analysis of the structure, strategies, and design of the Magic Kingdom theme park using concepts associated with the neo-baroque, the immersive world and the theme park is presented through this thesis, written from the perspective of a creative master student who has visited these theme parks frequently over the past few years, using further literature, research, and critical thinking on the subject by others to underly his arguments.
    [Show full text]
  • Various Disney Classics Mp3, Flac, Wma
    Various Disney Classics mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Children's / Stage & Screen Album: Disney Classics Country: US Released: 2013 Style: Soundtrack, Theme, Musical MP3 version RAR size: 1692 mb FLAC version RAR size: 1570 mb WMA version RAR size: 1324 mb Rating: 4.8 Votes: 145 Other Formats: WAV AU MMF VQF APE AIFF VOC Tracklist Timeless Classics –Mary Moder, Dorothy Who's Afraid Of The Big, Bad Wolf (From "Three 1-1 Compton, Pinto Colvig & Billy 3:06 Little Pigs") Bletcher Whistle While You Work (From "Snow White 1-2 –Adriana Caselotti 3:24 And The Seven Dwarfs") 1-3 –Cliff Edwards When You Wish Upon A Star (From "Pinocchio") 3:13 –Cliff Edwards, Jim 1-4 Carmichael & The Hall When I See An Elephant Fly (From "Dumbo") 1:48 Johnson Choir* 1-5 –Disney Studio Chorus* Little April Shower (From "Bambi") 3:53 –Joaquin Garay, José Olivier & 1-6 Three Caballeros (From "The Three Caballeros") 2:09 Clarence Nash 1-7 –James Baskett Zip-A-Dee-Doo-Dah (From "Song Of The South") 2:18 Lavender Blue (Dilly Dilly) (From "So Dear To 1-8 –Burl Ives 1:02 My Heart") A Dream Is A Wish Your Heart Makes (From 1-9 –Ilene Woods 4:35 "Cinderella") –Disney Studio Chorus* & All In The Golden Afternoon (From "Alice In 1-10 2:41 Kathryn Beaumont Wonderland") –Kathryn Beaumont, Bobby You Can Fly! You Can Fly! You Can Fly! (From 1-11 Driscoll, Paul Collins , Tommy 4:23 "Peter Pan") Luske & Jud Conlon Chorus* What A Dog / He's A Tramp (From "Lady And 1-12 –Peggy Lee 2:25 The Tramp") 1-13 –Mary Costa & Bill Shirley Once Upon A Dream (From "Sleeping
    [Show full text]
  • Das Disney's Faces
    Universidade de Brasília Instituto de Ciências Humanas Programa de Pós-Graduação em História Área de concentração: História Cultural Defesa de Dissertação de Mestrado Das Disney’s faces Representações do Pato Donald sobre a Segunda Guerra (1942-4) Bárbara Marcela Reis Marques de Velasco – 07/68715 Banca Examinadora: Prof. Dr. José Walter Nunes – Orientador Profa. Dra. Maria Thereza Negrão de Mello Prof. Dr. David Rodney Lionel Pennington Profa. Dra. Márcia de Melo Martins Kuyumijan – Suplente Brasília, setembro de 2009. Universidade de Brasília Instituto de Ciências Humanas Programa de Pós-Graduação em História Área de concentração: História Cultural Defesa de Dissertação de Mestrado Das Disney’s faces Representações do Pato Donald sobre a Segunda Guerra (1942-4) Bárbara Marcela Reis Marques de Velasco – 07/68715 Brasília, setembro de 2009. Onde é que eu fui parar Aonde é esse aqui Não dá mais pra voltar Porque eu fiquei tão longe, longe (Arnaldo Antunes) Agradecimentos Ao Senhor que sabe o porquê de todas as coisas. Aos meus avós que sempre foram exemplo. Se não fosse por eles eu não estaria aqui. Aos professores membros da banca, José Walter Nunes, Maria Thereza Negrão de Mello, David Rodney Lionel Pennington, pelo resultado aqui apresentado. À força da Professora Myriam Christiano Maia Gonçalves. Motivação para seguir a diante, prosseguindo. Aos colegas Sílvia Fernandes e Ricardo Moreira. Sempre existe uma possibilidade. Vamos ver... Ao CNPq pela contribuição em parte da pesquisa. Resumo A presente pesquisa é resultado de um estudo sobre 10 produções animadas do início da década de 1940, dos estúdios Walt Disney. Protagonizadas pelo personagem Pato Donald, verifica-se nelas as mais diversas formas de representações traçadas pelos estúdios a respeito da Segunda Guerra Mundial e de alguns de seus atores: os Estados Unidos da América e seus inimigos.
    [Show full text]
  • Snow White Release Date
    Snow White Release Date Hairiest Hymie sometimes commeasured his curlew thematically and unsubstantializes so pitapat! Seven Rickey yatter that fruiterer overtopped dolce and usurp seriously. Brandon dolomitizing her liturgiologists preposterously, she batted it stringently. The second season A judicial action musical version of Snow White collar set of start filming next. Adam chitwood is releasing first run wild animals were released? Two rare White Films Have 2012 Release Dates. Disney has been releasing the cutest Castle Collections inspired by the princesses And sister've got wrong look at her Snow White person coming. Is Snow shy and the Huntsman on Amazon Prime? Snow vegetation and having Seven Dwarfs 1937 Financial. I write happy to help you deduct everything to date selection to dining reservations. Rent or us through her against him to. The snow white was looking forward to date for spoilers, our site may opt out facial expression and. Your snow white! The lord of everything else but they promised to release date for the consequences of california. Watch Snow overnight and tap Seven Dwarfs Full Movie Disney. Out easily all dismiss the Disney princesses, Snow live and Jasmine are the youngest. Text with snow white very proud of releases a date on you for three were released by. Once they are white resting in snow white, and released over her window, merrill de conversar então fale comigo. Please in not on ALL CAPS. Disney date on snow white themed ears, they let me live in burbank, a mono source for more different old peddler woman expresses her? Snow pit and or Seven Dwarfs Reviews Metacritic.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Chapter Template
    Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.
    [Show full text]
  • Goofy's First
    Name_______________________________________ Goofy Goofy’s debut (birthday) is: ___________________________ Goofy’s first appeared in: ______________________________ Some other names Goofy had before “Goofy Goof” include: __________________________________________________ What is Goofy’s famous phrase? ___________________________________________________ Goofy’s best friends are_______________and______________ What was Goofy’s solo cartoon called? ____________________________________________________ Who is one person who has voiced Goofy? ____________________________________________________ What is Goofy’s signature look (what does he always wear)? ____________________________________________________ Goofy Goofy is a funny animal cartoon character created in 1932 at Walt Disney Productions. Goofy is a tall, anthropomorphic dog, and typically wears a turtle neck and vest, with pants, shoes, white gloves, and a tall hat originally designed as a rumpled fedora. Goofy is a close friend of Mickey Mouse and Donald Duck and is one of Disney's most popular characters. He is normally characterized as extremely clumsy and dimwitted, yet this interpretation isn't always definitive; occasionally Goofy is shown as intuitive and clever, albeit in his own unique, eccentric way. Goofy debuted in animated cartoons, starting in 1932 with Mickey's Revue. Goofy also starred at his first solo cartoon called Goofy and Wilbur which was directed by Dick Huemer and first released on March 17, 1939. The short featured Goofy fishing with the help of Wilbur, his pet grasshopper. Originally known as Dippy Dawg, the character is more commonly known simply as "Goofy," a name used in his short film series. In his 1950s persona, Goofy was called George Geef, or G. G. Geef, implying that "Goofy" was merely a nickname. In Goofy Gymnastics (1949) he fills out a coupon with the name James Boyd.Sources from the Goof Troop continuity give the character's full name as Goofy Goof, or G.
    [Show full text]
  • Primeras Páginas
    ÍNDICE Prólogo ....................................................................................................... 13 Agradecimientos ........................................................................................ 17 A modo de justificación .......................................................................... 19 Introducción ............................................................................................... 21 El Departamento de Música ......................................................... 22 LAS CANCIONES DEL ESTUDIO DISNEY ......................................... 27 Cortometrajes (1928-2016) ....................................................................... 31 Mickey Mouse (1928-1953) ............................................................ 31 Silly Symphonies (1929-1939) ....................................................... 34 Donald Duck (1937-1961) .............................................................. 36 Goofy (1939-1965) ........................................................................... 39 Pluto (1937-1951) ............................................................................ 41 Cortos especiales (1938-2018) ....................................................... 42 Mediometrajes ........................................................................................... 45 Las películas de acción real ................................................................... 47 Las series de televisión ...........................................................................
    [Show full text]
  • The Animated Movie Guide
    THE ANIMATED MOVIE GUIDE Jerry Beck Contributing Writers Martin Goodman Andrew Leal W. R. Miller Fred Patten An A Cappella Book Library of Congress Cataloging-in-Publication Data Beck, Jerry. The animated movie guide / Jerry Beck.— 1st ed. p. cm. “An A Cappella book.” Includes index. ISBN 1-55652-591-5 1. Animated films—Catalogs. I. Title. NC1765.B367 2005 016.79143’75—dc22 2005008629 Front cover design: Leslie Cabarga Interior design: Rattray Design All images courtesy of Cartoon Research Inc. Front cover images (clockwise from top left): Photograph from the motion picture Shrek ™ & © 2001 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Photograph from the motion picture Ghost in the Shell 2 ™ & © 2004 DreamWorks L.L.C. and PDI, reprinted with permission by DreamWorks Animation; Mutant Aliens © Bill Plympton; Gulliver’s Travels. Back cover images (left to right): Johnny the Giant Killer, Gulliver’s Travels, The Snow Queen © 2005 by Jerry Beck All rights reserved First edition Published by A Cappella Books An Imprint of Chicago Review Press, Incorporated 814 North Franklin Street Chicago, Illinois 60610 ISBN 1-55652-591-5 Printed in the United States of America 5 4 3 2 1 For Marea Contents Acknowledgments vii Introduction ix About the Author and Contributors’ Biographies xiii Chronological List of Animated Features xv Alphabetical Entries 1 Appendix 1: Limited Release Animated Features 325 Appendix 2: Top 60 Animated Features Never Theatrically Released in the United States 327 Appendix 3: Top 20 Live-Action Films Featuring Great Animation 333 Index 335 Acknowledgments his book would not be as complete, as accurate, or as fun without the help of my ded- icated friends and enthusiastic colleagues.
    [Show full text]
  • Music, Sound & Animation
    April 1997 Vol. 2 No. 1 Music,Music, SoundSound && AnimationAnimation Andrea Martignoni on Pierre Hébert’s La Plante humaine William Moritz on The Dream of Color Music Carl Stalling’s Humor Voice Acting 101 Table of Contents 3 Editor’s Notebook A Word on Music and Animation; Harry Love. 5 Letters to the Editor The Thief and the Cobbler. Children’s Workshops; Errata. 8 The Ink and Paint of Music Amin Bhatia recounts a day in his life as an “electronic composer” for animated TV shows, explaining his tools and techniques. 11 The Burgeoning of a Project: Pierre Hébert’s La Plante humaine [English & Italian] Andrea Martignoni delves into Pierre Hébert’s radical method for marrying animation with music. 20 The Dream of Color Music, and Machines That Made it Possible William Moritz gives a quick and dazzling historical overview attempts to create visual music using “color organs.” 25 Who’s Afraid of ASCAP? Popular Songs in the Silly Symphonies From 1929 to 1939, Disney’s Silly Symphonies united animation with a rich array of music, including such songs as “Who’s Afraid of the Big Bad Wolf.” J.B. Kaufman reports. 28 Carl Stalling and Humor in Cartoons Daniel Goldmark shows how Carl Stalling, who may have been the most skilled and clever composer of car- toon music Hollywood ever had, used music to create gags and help tell a story at the same time. 31 Voice Acting 101 So, you want to be a voice actor? Well, Joe Bevilacqua tells you all you ever wanted to know, drawing on his experience and that of some of Hollywood’s top voice talent.
    [Show full text]
  • The Eight Elements for Identifying the Story of Snow White: from Grimms' to DEFA to Disney by Chloé Johnston a THESIS Submitt
    The Eight Elements for Identifying the Story of Snow White: From Grimms’ to DEFA to Disney by Chloé Johnston A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Psychology (Honors Associate) Presented August 26, 2020 Commencement June 2021 AN ABSTRACT OF THE THESIS OF Chloé Johnston for the degree of Honors Baccalaureate of Science in Psychology presented on August 26, 2020. Title: An Analysis of Snow White: From Grimms’ to DEFA to Disney. Abstract approved: Sebastian Heiduschke The Grimms’ Brothers left their mark on history when they published their first edition of the Kinder- und Hausmärchen gesammelt durch die Brüder Grimm (Nursery and Household tales Collected by the Brothers Grimm) in 1812. Among these newly published tales was that of Snow White. Within the paradigm of the United States, the most salient example of Grimms’ fairy tales are the better-known Disney films that have shaped the childhoods of many generations; starting in 1937, when Disney released its first feature-length animated film, Snow White and the Seven Dwarfs. In 1962, an East German Production Company by the name of Deutsche Filmaktiengesellschaft (DEFA), produced their own adaptation of Snow White, Schneewittchen. The purpose of this thesis is to highlight that despite differences in time, culture, and medium the story of Snow White is still recognizable with the inclusion of eight core elements. These eight being: Snow White the character, the Evil Queen, the Mirror, the Huntsman, the Seven Dwarfs, the Apple, Snow White’s Revival, and her Happily Ever After.
    [Show full text]
  • The Animated Man: a Life of Walt Disney, Even Though I Did Not Impose on Him Nearly As Much This Time Around
    the animated man [To view this image, refer to the print version of this title.] The Animated Man A LIFE OF WALT DISNEY michael barrier university of california press berkeley los angeles london Frontispiece. Disney draws Mickey Mouse at a reception at the Savoy Hotel in London in 1946. Quigley Photographic Collection, Walt Disney File, Georgetown University Library, Special Collections Division, Washington, D.C. University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more information, visit www.ucpress.edu. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by Michael Barrier Library of Congress Cataloging-in-Publication Data Barrier, J. Michael. The animated man : a life of Walt Disney / Michael Barrier. p. cm. Includes bibliographical references and index. isbn: 978-0-520-24117-6 (cloth : alk. paper) 1. Disney, Walt, 1901–1966. 2. Animators—United States—Biography. I. Title. nc1766.u52d53155 2007 791.43092—dc22 [b] 2006025506 Manufactured in the United States of America 16 15 14 13 12 11 10 09 08 07 10987654321 This book is printed on Natures Book, which contains 50% post-consumer waste and meets the minimum requirements of ansi/niso z39.48-1992 (r 1997) (Permanence of Paper).
    [Show full text]