This article is a review and discussion of four newly released double-disc sets in the “Walt Disney Treasures” series. The discs contain Silly Symphonies, and the author discusses how Disney used technology to gain a competitive edge over the Fleischers. Disney took more care in music and sound editing and synching, using a technique which enabled animators to listen to already-recorded music and effects and animate in synch with these soundtracks, while the Fleischers’ sound seems more like improvisation. And Disney signed an exclusive contract, giving him the only rights to use a new three-color Technicolor process that gave his films a “visual pop” unlike any others available.
This article discusses the technical care and expertise put into Disney short films. The article argues that the color, shading, draftsmanship, depth techniques, and expressivity of movement eventually used in Snow White and the Seven Dwarfs were first used in Silly Symphonies like The Goddess of Spring and Three Blind Mouseketeers. The author also discusses the differences between Walt Disney’s television persona and behind-the scenes “persistent dissatisfaction,” claiming that whichever one considers, Disney’s efforts edged the country towards “greater technological feats.”
This article, while it does not mention Three Little Pigs explicitly, helps fill in some information about how Disney managed to employ technology to his favor, and the details of some of that technology, especially color and sound. It also shows how the Silly Symphonies served in some cases as proving grounds for new techniques that eventually emerged in full-length animated features, and echoes an often-expressed belief in Walt Disney’s quest for perfection through bigger and better technology.
This is the original Three Little Pigs Silly Symphony; its duration is 8:23. It features the Three Little Pigs and the Big Bad Wolf, as well as the famous song "Who's Afraid of the Big Bad Wolf?" According to a few sources, the heavily Jewish image and accent of the Wolf knocking on the brick house's door was removed for the DVD release, but it seems that this revised voice was applied to the YouTube video, even though the visual was not adjusted.
Having easy, unlimited access to the film which is the subject of my research is essential, not only for being able to form a thesis but for being able to interpret and synthesize the various resources I'll find on the subject. I can draw direct evidence as to the narrative structure, characterization, and use of color, music, and sound, and hear the song "Who's Afraid of the Big Bad Wolf?" whenever I please.