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. 

The animated short Three Little Pigs is the focus of this paper; the author claims that this short was significant first for epitomizing the quality of Disney films in the 1930s, whose popularity can't be conceived of today. In addition, the author sees the film as crucial in character animation, paving the way for the enduring characters of the next decade. The narrative, indirectly, and the commercial success, more directly, enabled Disney's first feature-length animated film, Snow White and the Seven Dwarfs.

The article also discusses the technical achievements of the film, such as the difficulty in animating such similar characters and the effective use of color. The latter innovation, color, was used most effectively by including subtle tone changes with purpose, such as to reinforce the exhaustion of the wolf after trying to blow down the brick house by changing the colors of his face. Finally, sound was key to the film's success and influence. Written to illustrate a song that became a hit, "Who's Afraid of the Big Bad Wolf?", the music helps differentiate characters. The character development was further aided by focusing on four characters, instead of the huge undifferentiated masses often featured in earlier Silly Symphonies.

Finally, the article addresses the metaphor of the story as two-pronged. The popularity of the film suggests the dormant, hopeful message that hard work alone will allow men to prevail even in times of doubt; this was an appealing message in the Depression. Second, audiences saw Walt Disney as a role model. It's possible that simple plots, like that of this short, helped Disney films maintain popularity over competing Warner Brothers series which today seem more appealing.

This article is key to my argument; it helps provide evidence that Three Little Pigs paved the way for Snow White and the future Disney style of creating feature-length films with the same character development, simple plots and positive, moral underlying messages that appealed to audiences.

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 a blog entry, but it seems to be of high enough quality for use. Its thesis is that the Republican reading of hard times in Three Little Pigs, both the Depression of the 1930s and even today's housing crisis, is "undercut by various elements of subversion." Characterization helps to differentiate between the lazy pigs and the responsible pig, and these personas are echoed not only in the pigs' actions but the objects they use to decorate their houses. But the author argues that the lazy pigs are so likeable that the message is somewhat obscured, and hypothesizes that much of the Wolf's animosity and the pigs' fear may resemble the corporate structure and relationship between Walt Disney and animators. The primitive use of color contributes to the dream-like quality of Disney, a "surreal," sometimes uncanny vibe which contrasts sharply with how Warner Brothers cartoons, especially today, appear "secular, straightforward, unpretentious, urban, and ethnic.”

This resource would be helpful for showing the effective use of characterization. Its specificity in mentioning how characters are differentiated, through their actions, attitudes, and possessions as well as through color, would be useful. A new look at the short film’s allegorical power, namely, its relevance in today's US economy, is also interesting, as is its comparison of the dreaminess of Disney as compared to the reality of Warner Brothers animated shorts.