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TRIVIA TRIVIA TRIVIA In what cartoon did What was the date of In the animated short Mickey make his Mickey’s lm debut? Plane Crazy, Mickey screen debut? Mouse pretends to be what famous aviator? Steamboat Willie November 18, 1928 Charles Lindbergh TRIVIA TRIVIA TRIVIA Who provided the What Disney artist is What was the rst original voice of credited with animating merchandise item to Mickey Mouse? the rst Mickey Mouse feature Mickey Mouse? cartoons? A child’s school writing tablet Walt Disney Ub Iwerks (licensed in 1929) TRIVIA TRIVIA TRIVIA Which four Disney Name the rst full-length theatrical What year did the rst theatrically-released feature presentations Mickey Mouse comic color cartoon to were the only ones to strip appear? feature Mickey Mouse. include an animated Mickey Mouse? Fantasia (1940), 1930 (January 13th) The Band Concert Fun and Fancy Free (1947), (February 23, 1935) Who Framed Roger Rabbit (1988) and Fantasia/2000 (2000) TRIVIA TRIVIA TRIVIA On the original What is Mickey’s most What was the rst Mickey Mouse Club recent theatrical short? Mickey Mouse cartoon television show, what and what feature lm in which Mickey Speaks? day of the week was was it released with? Talent Roundup Day? Get a Horse! - with Frozen The Karnival Kid (1929) Friday (November 27, 2013) TRIVIA TRIVIA TRIVIA What voice actor took Name the theme song In Italy, Mickey Mouse over the voice of from the original 1930’s is known as: Mickey Mouse in 2009? Mickey Mouse Clubs. Topolino Bret Iwan “Minnie’s Yoo Hoo” TRIVIA TRIVIA TRIVIA What Disney Junior What 2017 digital series What nighttime show show starring Mickey follows a new class of premiered on the Mouse featured a 8 Mouseketeers as they Rivers of America at “Mystery Mouseketool?” create music, Disneyland in 1992? choreography, and friendships? The Mickey Mouse Club Mickey Mouse Fantasmic! Clubhouse.

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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
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The Bbc and the 'Radio Cartoon'
Jackson, V. (2019). ‘What do we get from a Disney film if we cannot see it?’: The BBC and the “Radio Cartoon” 1934-1941. Historical Journal of Film, Radio and Television, 39(2), 290-308. https://doi.org/10.1080/01439685.2018.1522789 Publisher's PDF, also known as Version of record License (if available): CC BY-NC-ND Link to published version (if available): 10.1080/01439685.2018.1522789 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Taylor & Francis at https://doi.org/10.1080/01439685.2018.1522789 . Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Historical Journal of Film, Radio and Television ISSN: 0143-9685 (Print) 1465-3451 (Online) Journal homepage: https://www.tandfonline.com/loi/chjf20 ‘What Do We Get from a Disney Film if We Cannot See It?’: The BBC and the ‘Radio Cartoon’ 1934–1941 Victoria Jackson To cite this article: Victoria Jackson (2019): ‘What Do We Get from a Disney Film if We Cannot See It?’: The BBC and the ‘Radio Cartoon’ 1934–1941, Historical Journal of Film, Radio and Television, DOI: 10.1080/01439685.2018.1522789 To link to this article: https://doi.org/10.1080/01439685.2018.1522789 © 2018 The Author(s).
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Steamboat Willie
Steamboat Willie By Dave Smith, Chief Archivist Emeritus, The Walt Disney Company Walt Disney, who would become the best-known producer in animation history, had very humble beginnings. Starting his fledgling company in Hollywood in 1923, he began by making two uninspired animated series, the “Alice Come- dies,” and “Oswald the Lucky Rabbit.” But it was with his third series, featuring an enduring character, Mickey Mouse, that Walt rose to fame. That series began with the release of "Steamboat Willie" at the Colony Theater in New York on November 18, 1928. Early in 1928, Walt Disney was disheartened. He had gone to New York to negotiate with his distributor, only to discover that the distributor had taken over the rights to his Oswald cartoons. Walt began thinking of a possible successor to Oswald while riding on the train on his way back to California. There have been many stories of the inception of Mickey Mouse, but on that train ride, Walt may have been recalling a playful little mouse that had made itself at home in Walt’s Kansas City Studio, where he had first started to experiment with animation. On re- turning to California, Walt met with several of his staff members, and they came up with Mickey Mouse. Ub Iwerks, Walt’s chief animator, was tasked with actually designing the character, with input from Walt. Two Mickey Mouse cartoons were made starting that This illustration, titled “Mickey Mouse inbetweener drawing no. 469 spring, “Plane Crazy” and “The Gallopin’ Gaucho.” Walt or 479 from Steamboat Willie” appears courtesy Library of Congress tried desperately to sell a distributor on a series based on Prints & Photographs Online Catalog.
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The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons.
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Pd Films List 0824
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Quick Reference Sheet – Full Text & Batch Search
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Beginnings 1902–1928 Maturity 1928 Experimentation 1929
GET STARTED In order to solve problems and meet their BEGINNINGS MATURITY EXPERIMENTATION INNOVATION NEW DIRECTIONS LOOKING TO THE FUTURE LEGACY creative goals, Walt Disney and his animators 1902–1928 1928 1929–1937 1937 1938–1955 1955–1966 1966–PRESENT and Imagineers often had to invent new tools or improve existing ones using STEAM— GALLERY 1A, 1B & 2A GALLERY 2B GALLERIES 3 & 4 GALLERY 5 GALLERIES 6, 7, 8 & 9A GALLERY 9B GALLERY 10 science, technology, engineering, art, and Walt lived in many different places during his childhood Walt gained much success in Hollywood during the 1920s. The success of Walt’s cartoons led to a revolution in the art In the 1930s, Walt pushed the art of animation forward in many Later in Walt’s career, he began to explore new and exciting With the success of Disneyland, Walt became increasingly Walt’s death in 1966 shocked and saddened the world, math. This guide includes a timeline of Walt’s and young adulthood, but wherever he went, he brought He established the Disney Bros. Cartoon Studio and created and technology of animation. The objects in these galleries ways. One example is the development of the Multiplane forms of entertainment. He ventured into live-action films, interested in city planning and design as tools for solving but his legacy continues today. with him a curiosity about the world and a love of drawing. one of his most popular animated characters: Mickey Mouse. show the creative explosion of the 1930s. Camera, which allowed for more realistic depth in animation. documentaries, television shows, and theme park design.
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Mickey Mouse ❖ Jonathan, the ❖ New ‘Air India One’ Tortoise
NOVEMBER 2020 CLASS 3 & 4 TEACHER REFERENCE PRESENTATION NOVEMBER 2020 TABLE OF CONTENTS CLASS 3 & 4 Pick of the Month Gap Profiles Global Update ❖ Mickey Mouse ❖ Jonathan, the ❖ New ‘Air India One’ tortoise Discover India Around the World Did you Know ❖ Kongthong Village ❖ Kuala Lumpur ❖ The Pentagon Born This Month Mixed Bag Mickey Mouse Pick of the Month Mickey Mouse is one of the world's most favourite cartoon characters. He is a mischievous mouse who gets into trouble easily. He is also very imaginative and quick enough to solve the problems. He typically wears red shorts, white gloves and large yellow shoes, and has only four fingers on each hand. Mickey was initially barefooted and bare handed. His gloves were introduced in the cartoon 'The Opry House', in 1929. He went on to wear them in most of his subsequent appearances until today. Mickey’s Creation Mickey Mouse was created by animators Walt Disney and Ub Iwerks at the Walt Disney Studios, in 1928, as a replacement for 'Oswald, the Lucky Rabbit', an earlier character created by Walt Disney. He came up with the idea of Mickey Mouse while on a train from New York to Hollywood. Mickey Mouse Pick of the Month Mickey’s Journey Mickey first featured in a silent short titled 'Plane Crazy'. He later made his appearance in the short film titled 'Steamboat Willie', which was one of the first cartoons with sound. It was released on 18 November, 1928. Although Mickey laughed and squealed in his initial films, his first spoken words were ‘Hot Dogs!’ in the film ‘The Karnival Kid’, in 1929.
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Mickey Mouse Episodes in Hindi Download
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Lesson Plan # 20
Lights, Camera, MEDIA Literacy! Lesson Plan # 20 Topics: Journal Writing Ub Iwerks Claymation Computer Animation Animated Production Outcomes: Students will follow organizational procedures. Students will see, hear, and use applicable vocabulary. Students will state contributions by early animators. Students will complete a 2-D animated film. Materials: Writing journals Camcorders Tripods Mini-DV Tape or Memory card Computer with iStopMotion (or similar) software LCD projector Chart paper Post-its Individual student pocket folders Groups’ Animated film materials HANDOUTS: How Animation Got Its Start (students already have this) Creating a Three-Act Newsies Film (students already have this) DVDs: “The Hand Behind the Mouse: The Ub Iwerks Story” “Plane Crazy” “Steamboat Willie” Disc 2 DISNEY TREASURES: ADVENTURES OF OSWALD THE LUCKY RABBIT New Vocabulary: “Claymation” MCPS 2011 LCML! Lesson #20 1 Sequence of Events: I. Journal Writing (15) 1. Prompt: How do you feel about creating an animated film compared to creating a live-action film? II. Viewing a Documentary about Ub Iwerks (60) 1. Write the name UB IWERKS on the board and ask if anyone has heard of him. Tell students that Ub Iwerks has influenced movie watching experiences possibly more than any one individual, yet few know his name. 2. View the film. DVD: “The Hand Behind the Mouse: The Ub Iwerks Story On Disc 2 of WALT DISNEY TREASURES: THE ADVENTURES OF OSWALD THE LUCKY RABBIT 3. Allow time for reaction and check answers on the worksheet: “How Animation Got Started.” (Students now know the answers to #4 & 5.) HANDOUT: How Animation Got Started 4. Show the two early Iwerks/ Disney shorts: 1st Mickey Mouse cartoon: “Plane Crazy” (6:00) 1928 1st sound cartoon: “Steamboat Willie.” (7:40) 1928 DVD: “Plane Crazy” and “Steamboat Willie” Disc 2 Menu: The Work of Ub Iwerks WALT DISNEY TREASURES: THE ADVENTURES OF OSWALD THE LUCKY RABBIT III.
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Guide to the Mahan collection of American humor and cartoon art, 1838-2017 Descriptive Summary Title : Mahan collection of American humor and cartoon art Creator: Mahan, Charles S. (1938 -) Dates : 1838-2005 ID Number : M49 Size: 72 Boxes Language(s): English Repository: Special Collections University of South Florida Libraries 4202 East Fowler Ave., LIB122 Tampa, Florida 33620 Phone: 813-974-2731 - Fax: 813-396-9006 Contact Special Collections Administrative Summary Provenance: Mahan, Charles S., 1938 - Acquisition Information: Donation. Access Conditions: None. The contents of this collection may be subject to copyright. Visit the United States Copyright Office's website at http://www.copyright.gov/for more information. Preferred Citation: Mahan Collection of American Humor and Cartoon Art, Special Collections Department, Tampa Library, University of South Florida, Tampa, Florida. Biographical Note Charles S. Mahan, M.D., is Professor Emeritus, College of Public Health and the Lawton and Rhea Chiles Center for Healthy Mothers and Babies. Mahan received his MD from Northwestern University and worked for the University of Florida and the North Central Florida Maternal and Infant Care Program before joining the University of South Florida as Dean of the College of Public Health (1995-2002). University of South Florida Tampa Library. (2006). Special collections establishes the Dr. Charles Mahan Collection of American Humor and Cartoon Art. University of South Florida Library Links, 10(3), 2-3. Scope Note In addition to Disney animation catalogs, illustrations, lithographs, cels, posters, calendars, newspapers, LPs and sheet music, the Mahan Collection of American Humor and Cartoon Art includes numerous non-Disney and political illustrations that depict American humor and cartoon art.
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2 • 0 • 1 • 1 Walt Disney Classics Collection 101 Dalmatians Contd
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