<?xml version="1.0"?>
<rss version="2.0"><channel><link>http://tags.library.upenn.edu/url/36645</link>
<title>PennTags Feed for /url/36645</title>
<description>PennTags Feed</description>
<item><guid isPermaLink="true">http://tags.library.upenn.edu/makerecord/voyager/46847</guid>
<link>http://tags.library.upenn.edu/makerecord/voyager/46847</link>
<title>Thomas, Frank and Ollie Johnston.  Disney Animation: The Illusion of Life. New York: Abbeville Press, 1981.</title>
<description>&lt;p&gt;This book is an enormous print compilation of Disney sketches and animated stills accompanied by text discussing early animation, its principles and appeal, the procedure of putting animation on the screen, character development, animating expressions and dialogue, acting, and other aspects of the technical and nitty-gritty details of how animation works.  On page 292, in the Music and Sound section, it devotes an entire page to an example of how composed music and sound effects were synched with the animation.  The example is from &lt;em&gt;Three Little Pigs&lt;/em&gt;, and includes a sketch of the pig who built with straw running towards his home to take refuge from the wolf.  &lt;br /&gt;&lt;br /&gt;Beside the sketch are two strips, or "exposure sheets," which show how the pig's movements and actions change with time using little thumbnail sketches along paper with divisions representing time on screen.  The main accents of the scene, such as going through the door, slamming the door, opening the door, pulling in the Welcome mat, and closing the door once more are shown along the strips, placed according to which frame contains the action.  Where each measure of music falls is notated along the strips as well, and the swelling or dropping off of the line of action through the frames must resonate with the music synched with the film.  This is a perfect example of the meticulous detail and effort put in by Disney animators that imparted quality to the resulting films and gave the studio a competitive edge.&lt;br /&gt;&lt;br /&gt;The document is a primary source, and a perfect example of the care and extra work put in by Disney employees that is discussed in other sources.  It gets into the detail of exactly how the amazing feats Disney studios was able to achieve were performed, and &lt;em&gt;Three Little Pigs&lt;/em&gt; is a great example of the effective use of synchronized sound.  This illustration, and the accompanying discussion, helps me prove that sound effects and music were part of what made &lt;em&gt;Three Little Pigs&lt;/em&gt; so astounding.  In addition, this book is almost a bible, filled with details of the animating process which would help me gather background information to discuss other aspects of my argument such as illustration and other animation methods which helped in characterization, as well as color and photography methods.&lt;/p&gt;</description>
</item>
<item><guid isPermaLink="true">http://tags.library.upenn.edu/makerecord/voyager/36645</guid>
<link>http://tags.library.upenn.edu/makerecord/voyager/36645</link>
<title>Thomas, Frank and Ollie Johnston.  Disney Animation: The Illusion of Life. New York: Abbeville Press, 1981.</title>
<description>&lt;p&gt;This book is an enormous print compilation of Disney sketches and animated stills accompanied by text discussing early animation, its principles and appeal, the procedure of putting animation on the screen, character development, animating expressions and dialogue, acting, and other aspects of the technical and nitty-gritty details of how animation works.  On page 292, in the Music and Sound section, it devotes an entire page to an example of how composed music and sound effects were synched with the animation.  The example is from &lt;em&gt;Three Little Pigs&lt;/em&gt;, and includes a sketch of the pig who built with straw running towards his home to take refuge from the wolf.  &lt;br /&gt;&lt;br /&gt;Beside the sketch are two strips, or "exposure sheets," which show how the pig's movements and actions change with time using little thumbnail sketches along paper with divisions representing time on screen.  The main accents of the scene, such as going through the door, slamming the door, opening the door, pulling in the Welcome mat, and closing the door once more are shown along the strips, placed according to which frame contains the action.  Where each measure of music falls is notated along the strips as well, and the swelling or dropping off of the line of action through the frames must resonate with the music synched with the film.  This is a perfect example of the meticulous detail and effort put in by Disney animators that imparted quality to the resulting films and gave the studio a competitive edge.&lt;br /&gt;&lt;br /&gt;The document is a primary source, and a perfect example of the care and extra work put in by Disney employees that is discussed in other sources.  It gets into the detail of exactly how the amazing feats Disney studios was able to achieve were performed, and &lt;em&gt;Three Little Pigs&lt;/em&gt; is a great example of the effective use of synchronized sound.  This illustration, and the accompanying discussion, helps me prove that sound effects and music were part of what made &lt;em&gt;Three Little Pigs&lt;/em&gt; so astounding.  In addition, this book is almost a bible, filled with details of the animating process which would help me gather background information to discuss other aspects of my argument such as illustration and other animation methods which helped in characterization, as well as color and photography methods.&lt;/p&gt;</description>
</item>
</channel>
</rss>
