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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.
tagged animation cartoon color experimentation short silly_symphonies snow_white sound by lacan ...and 3 other people ...on 15-JUL-10
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.
tagged animation cartoon color experimentation short silly_symphonies snow_white sound by goldmanr ...and 3 other people ...on 01-DEC-08
The author discusses and forms theories as to the rules of fairy tale adaptation at Disney, especially related to the role of the child and the view of adolescents or adults, in a few of the Sillies including Babes In The Woods. He discusses Three Little Pigs specifically, but more as a contradiction to many of these trends. The pigs are pre-pubescent children, and while they are old enough to be without parental figures and have pin-ups, they still sing with high voices and dress like toddlers (except, of course, Practical Pig, who has photos of his parents and wears pants). Therefore the short takes place in the “self-contained infant world of play,” a fact echoed by the presence of the lean, hairy, evil wolf.
This article would be useful for my paper as evidence of the direct trend of the Silly Symphonies from experimental, even “anarchy” in animation, to standardization in the portrayal of fairy tales. But it also codifies the aspects of the adaptation process which are distinctly Disney and American, and shows how these aspects fall into the categories of characterization especially. Sound and color are also mentioned as methods for advancing animation and increasing the potency of the stories told in these short films.
tagged animation children color disney experimentation moral psychological short silly_symphonies sound by goldmanr ...on 30-NOV-08