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The Biggest Mouse on the Planet

Who has never heard of Mickey Mouse? The answer is nobody. Almost everyone remembers watching the funny cartoon character on television before eating breakfast, or reading a comic featuring him and his beloved wife Minnie. Since his first Hollywood appearance in Steamboat Willie (1928), Mickey has continued to captivate the minds of little children and has become an icon for the Walt Disney Company. The question addressed by this project is how did such a plain animation character steal the heart of millions around the world? Authors from Walt Disney himself to famous cartoon critics will be presented and analyzed. Was it Disney's technological innovations? Mickey Mouse's cute physique? His mischievous but confident personality? Or his interest in European art and philosophy? Each and every article gives an interesting opinion on why Mickey Mouse became so famous and how he changed the face of the animation industry.

LexisNexis: Puppets bring a slice of Fantasia to life

This article from a Toronto Newspaper announces the 1979 recreation of a scene from Fantasia using puppets. The Toronto-based group, The Famous Players, is comprised of severally mentally handicapped members who have been trained as puppeteers. The Famous Players' shows often use puppets to impersonate celebrities and politicians, and this upcoming interpretive performance of "The Sorcerer's Apprentice" represents the group's tribute to Walt Disney. In attendance will be Jimmie Edwards, the recently retired Disney representative who worked on the original Fantasia film vocals and later went on to handle Mickey Mouse's vocals in other Disney endeavors. In addition to the group's interpretation of "The Sorcerer's Apprentice," The Famous Players will also be performing other acts including a rendition of a sequence from the Puccini opera Madame Butterfly.

This brief article is important because it provides a glimpse into the treatment of Fantasia in the intermediate years between its original release and contemporary times (significantly, in between the film's original release and the release of Fantasia 2000). This adaptation using puppets is significant because it demonstrates the treatment of Fantasia as a cultural production that enables artistic interpretation. While the method of interpretation is certainly unconventional, this creative adaptation reflects onto the artistic possibilities of the film itself for creating the possibility for such interpretation. It is also significant that the group's Fantasia performance is nestled next to their interpretation of a piece as classically artistic as Madame Butterfly. This juxtaposition further substantiates an aura of art around the film. The temporal position of this group's performance reflects my thesis because it represents an intermediate view of the film as art. While the group's adaptation recognizes the film as art (and functions as a tribute to Disney), it also takes the liberty of creatively interpreting the film. Thus Fantasia was not merely viewed as an antiquated form of art but something that could still be reworked in the current time.

Johnson, Bryan. "Puppets bring a slice of Fantasia to life." The Globe and Mail 22 June 1979.

JSTOR: Walt Disney: Art and Politics in the American Century

The article opens with the note that it is easy to forget that Walt Disney "was once celebrated as a great artist" for his innovations in the field of animation as well as his creative abilities. However, by the late 1940s the filmmaker's critical acclaim began to wane. Critics began to see Disney as having sold out his talent to pander to popular tastes. The author argues that Walt Disney's aesthetic evolved to reflect the contradictory intersection of Victorian sentimentalism and modernism, creating a hybrid style that helped mediate an important cultural shift in the United States during the 20th Century. The author goes as far as referring to Disney as "a kind of popular Picasso" to reflect his hybrid style that combined commercial entertainment and elements of surrealism (such as fantastic imaginary settings). In response to Disney's early modernist aesthetic, Sergei Eisenstein is quoted as having said in the early 1940s that the animator's work constituted "the greatest contribution of the American people to art." However, as Disney's efforts grew increasingly dedicated to enhancing realism in animation, his style onscreen became firmly rooted in a sunny aesthetic that reflected the sentimental idealism of the Victorian tradition. Disney was working at a time when other cartoonists had already developed a modernist aesthetic (often dark and surreal), and he curbed their style with his own anthropomorphic, fantastic-yet-optimistc idealism. The author argues that Fantasia represents the embodiment of this hybrid agenda. Abstract shapes and bizarre images set to classical music form the modernist component (especially through the juxtaposition of "high" and "low" images), while the idealistic nature scenes that form the imagery for several sequences form the counterpoint of Victorian sentimentalism. Many critics of the early 1940s likened Disney's appeals to the unconscious to the trickery and even drugging of audiences.

This article provides a retrospective analysis of Walt Disney's unique artistic style at the time leading up to and including the creation of Fantasia. It is important to note the temporal distance between the realm of the article's subject (the 1930s and 1940s) and that of its author (1995). The hindsight of this 60-year lapse enables the author to draw clear distinctions between different artistic movements in history, namely Victorian sentimentalism and modernism. While Disney's work was criticized at the time for being too "cutesy" and commercially exploitative, this modern author re-defines Disney's style as an innovative hybrid of two conflicting artistic movements. Thus it is in the context of these historical paradigm shifts that the author resurrects Disney as an artist. This article relates to my thesis because the author uses historical/retrospective insight to read Fantasia as the prime example of Disney's hybrid artistic style. While many music critics of the time condemned Fantasia for destroying the classical music at the film's center, this author uses the more than 50 years since the film was made to develop an analysis that sees the "bigger picture" of how the film fit into various definitions of art.

Watts, Steven. "Walt Disney: Art and Politics in the American Century." The Journal of American History june 82 (1995): 84-96. JSTOR. University of Pennsylvania Library, Philadelphia. 24 Nov. 2008 .

JSTOR: The Avant-Garde Film Seen from within

This article, written by a painter and film producer, discusses the presence of avant-garde techniques within the film industry. The author argues that, in addition to documentary and fictional entertainment, a third category of film should be formally added: experimental film. The article describes the nature of the avant-garde, outlining its history from cubism to surrealism, and posits that it is not necessarily technique that defines the style, but rather disinhibition of the artist. For the author, technique without creative energy is not justified as avant-garde, a style that is dedicated to the freedom of the artist. The article mentions Fantasia as one of two examples of mainstream films that the author deems avant-garde. This qualification is given to the film because of its focus on abstract movement, a visual

The fact that this article was written almost a decade after the initial release of Fantasia supports my thesis because the 9-year period in between substantiates a retrospective analysis. The author is able to describe Disney's work as avant-garde because of the priveleged position to look back and compare it to other films of its time and to view it in the context of the artistic movement of surrealism. However, the time elapsed between the release of the film and the publication of this article is relatively short, and thus the article could also be analyzed as a "late contemporary" of Fantasia.

Richter, Hans. "The Avant-Garde Film Seen from within." Hollywood Quarterly autumn 4 (1949): 34-41. JSTOR. University of Pennsylvania Library, Philadelphia. 27 Nov. 2008 .

JSTOR: Make Mine Disney: A Review

This article, written in 1946 by a professor of theater arts at the University of California at Los Angeles, weighs the merits and drawbacks of the animated cartoon as an art form. The author notes that the beauty of the form is that, at its best, individual cartoons can be watched repeatedly and still hold the viewer's interest. The article describes Walt Disney as the master of the animated cartoon, a man who brings infinite imagination to his work to produce rich details that warrant repeated viewings of his short films. However, the author does not respond as favorably to Disney's feature films, arguing that they progress only in terms of technical skill. The article mentions the shortcomings of many of Disney's early feature films, specifically describing Fantasia as an "ambitious experiment lacking over-all perfection," but still recognizes Walt Disney as a man working within the constraints of a larger industrial system that limits his art through economics. The author argues that Disney, himself, is a genius but is unable to bring true artistic innovation to his feature films because they represent "an expensive medium for far too large a public." The article closes by announcing two new Disney shorts to be released in the coming months, predicting that these cartoons will be able to "comment on life and society and still be entertainment" because they do not suffer the same burden of economic popularity as Disney's feature films.

Written just six years after the original release of Fantasia, this article is an example of negative critical reception of the film based on criteria that do not revolve around the film's "destruction" of classical music. Here the author situates his disappointment in Fantasia's execution within an overall critique of Disney's feature length films. The author's main criticism of the Disney feature length format is that it tries to cater to too large an audience and is bound by expectations of economic performance, a fact that strengthens my thesis that art is often seen as being in opposition to mass entertainment/commodities.

Macgowan, Kenneth. "Make Mine Disney: A Review." Hollywood Quarterly july 1 (1946): 376-77. JSTOR. University of Pennsylvania Library, Philadelphia. 27 Nov. 2008 .

JSTOR: The Nuisance of Music "Re-Creations"

The author, writing in 1945, offers a lengthy critique of why musical "re-creations" do not qualify as art. The article begins by stating that the addition of images to "absolute" music qualifies as a form of corruption and that Disney is guilty of this crime in Fantasia. The author goes on to list other offenses against canonical musical pieces: betraying the original intention of the composer, disrupting the continuity of the original piece, changing the original instrumentation (including changes to volume), and the introduction of expressiveness. The author uses metaphors of paintings and other visual art forms in order to demonstrate the horrific effects of each of these sins against music. The article closes with the statement that this practice of musical re-creation is merely a passing fad that will surely die out with the "current period of hyperindividualism."

This article is significant because it presents the common opinion of those in the music world that Fantasia is a heretical misuse of classical music, but it puts forth a more methodical reasoning behind this type of disapproval. The highly structured argument is significant because it shows that there existed an organized explanation of why films like Fantasia should not be considered valuable pieces of art. The author classifies this kind of impressionistic reworking of classical music as a passing trend, a fact that relates to my thesis by providing a direct temporal dimension to definitions of art. It seems that this author refuses to accept Fantasia as art partly because it represents what the author sees as a current (at that time) practice. The style of the film did not have the historical precedence behind it to be considered art. This article is especially interesting in terms of comparisons to more recent analyses of the film because it marks as criminal the very thing that Disney is praised for by contemporary cultural critics: the re-editing of classical music pieces in order to make them accessible to a wider audience. Whereas modern critics see this democratization of high art as a positive, artistic aspect of Fantasia, this author gives a methodical explanation of why this is a crime against music.

Balet, Leo. "The Nuisance of Music "Re-Creations"" The Kenyon Review summer 7 (1945): 382-98. JSTOR. University of Pennsylvania Library, Philadelphia. 27 Nov. 2008 .

Playing in 'Toon: Walt Disney's "Fantasia" (1940) and the Imagineering of Classical Music

The author of this article argues that Disney's editing/reworking of canonical classical music pieces in Fantasia vignettes does not merely butcher these artistic compositions (as was the common outraged response from people in the field of music), but instead brings to them a new series of visual associations that make them accessible to "middlebrow" audiences. He claims that it was the film's "technical virtuosity" that legitimized these decisions as art. The article discusses the ideological rhetoric underlying the film, such as evolution and technological progress, and how the harmony between image and sound onscreen works to naturalize these ideological underpinnings. The author also includes a discussion of the "Centaurettes" in one sequence that embody the racist trope of the "picaninny," characters that were self-censored out of the film in later releases, and how their presence signifies a certain racist ideology that reinforces the social hierarchy of the time. Briefly tracing the appearance of Fantasia over time, the author also mentions Fantasia 2000 as a continuation of this musical democracy that highlights the "cutting edge" technology legacy of the film through its IMAX format.

This article provides a rare instance in which a cultural critic from the field of music actually praises Fantasia for its reworking of classical music. However, it is significant that this positive reaction comes more than six decades after the film's initial release. Looking back on the film as a moment in history, the modern critic is able to locate Fantasia within a particular socio-historic context. This vantage point enables the author to comment on the sociological effects of the film, effects that comprise much of this article's redemption of the film's unorthodox usage of classical music. The author marks Fantasia as art because of both its technical brilliance and the creativity it displays in the methods used to ideologically affect its audience. This retrospective appreciation of the film relates to my thesis in that it provides an example of the notion that hindsight leads to Fantasia's validation as art rather than commodity. It is also significant that this article appears after the release of the contemporary Fantasia 2000, which served to refocus attention on the film in contemporary times. This re-emergence of the film, marketed as the resurrection of a classic, may have had a direct influence on the likelihood of a reviewer to see the original as art because of its connection to a particular moment in American history.

Clague, Mark. "Playing in 'Toon: Walt Disney's "Fantasia" (1940) and the Imagineering of Classical Music." American Music spring 22 (2004): 91-109. JSTOR. University of Pennsylvania Library, Philadelphia. 24 Nov. 2008. http://www.jstor.org/stable/3592969?seq=9&Search=yes&term=fantasia&term=disney&term=2000&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dfantasia%2B2000%2Bdisney;gw%3Djtx;prq%3Dfantasia%2B2000;Search%3DSearch;hp%3D25;wc%3Don&item=1&ttl=68&returnArticleService=showArticle&resultsServiceName=doBasicResultsFromArticle

Disney's Fantasia and Definitions of Art

What is art? This question has taken on many different forms and functions over time, changing in regard to social and historical circumstances. Can a piece of work that achieves commercial success still be considered art? Can true art be produced with a massive audience in mind? This project examines how the answers to these questions change over time in relation to a particular cultural production, Walt Disney's Fantasia (1940). Drawing upon sources from different points in history, I aim to demonstrate that as time passes since the original release of Fantasia, the critical discourse surrounding the film becomes increasingly mounted in artistic terms. This would indicate that the definition of art becomes more inclusive as time elapses since the production of a specific work. The socio-historical perspective that is gained through temporal distance allows a richer reading of a cultural production, beyond its classification as either high art or popular commodity, and it is from this vantage point that qualifications as art are more likely to spring.

Observations on film art and FILM ART : Uncle Walt the artist

Bordwell, David and Kristin Thompson. "Oberservations of film art and Film Art." David Bordwell's Website of Cinema. 2 Dec 2008.

In this blog entry, Bordwell speaks of Disney and his animation drawing from Neal Gabler’s biography Walt Disney: The Triumph of the American Imagination. He describes the ideology portrayed in Disney’s films as able to create a specific conception of American life and society. Though many intellectuals fell out of love with Disney in the 1940s, Bordwell believes that Disney’s cartoons were still artistically very strong. These cartoons are characterized by an unsurpassed dynamism and grace of his animation, his power of expressive movement of the screen and “Mickey Mousing, ”which, according to Eisenstein, is a primal, visceral unity that could move the spectator involuntarily. Disney achieved this “absolute perfection” of animation through technological methods as well as an understanding of human thought, images, ideas, feelings, etc. Bordwell add that Disney was a “control freak.” Thus he wanted to create an idealized world, obsessively pursuing the “quality” of animation, which he could control. The result was his films and, of course, Disneyland. Technology was his reality-distortion field. Disney was able to bring animation to life for many reasons: skill with line and contour, soft caricature with an enormous bounce or vibrancy, use of color, and relationships between image and sound. Bordwell concludes that the artistic imagination displayed by Disney and his staff captivated American imagination.

Bordwell explains that Disney conveyed American ideologies mainly through animation. This brilliant animation is one of the two main components of “Fantasia,” the other, obviously, being sound. The graceful, vibrant animation that Browell describes is what truly captivates the viewer. Otherwise, the childish themes and unimpressive animation would definitely detract viewer from Disney’s films. The animation in “Fantasia” thus plays an important part in its popularity. As an “experiment,” the film sought to achieve the perfection in production that Walt Disney expected. Furthermore, it seems that perfect synchronization of image and sound really accentuate the films features. Such an entrancing combination sucks the viewer into the screen entering Disney’s world of imagination. In doing so, Disney achieves a spectacular, unique power over the audience. Though quite impressive, this captivation is the source of the many critiques of “Fantasia.” Disney taints the musical pieces with his dictated ideas, leaving the viewer trapped in Walt’s idealized world. “Fantasia” binds the viewer to a set of inflexible interpretations, negating the film’s artistic possibilities.

The Aims of Music on Film

Copland, Aaron. "The Aims of Music for Film." New York Times 10 Mar. 1940: 158. ProQuest Historical Newspapers.
ProQuest. Van Pelt Library Philadelphia, PA. 2 Dec. 2008.

Copland introduces film music as an important part of film composition. He does not agree that “background music” losses its function when the viewer becomes aware of it, giving the example that watching a film before the musical score is added is nothing short of unbearable. The problem with music, however, is that audiences have not yet been informed on the subject. Copland believes that advertising a film as having the music of a famous composer could attract a huge audience of musical fans—2,000,000 concertgoers/year—just as directors and stars attract another audience to specific movies. This tactic might truly increase the number of people who attend films, as they would attract a more intellectual population than the traditional moviegoer. However, he explains that most films are worthy of their mundane music, but about 10% of Hollywood films, “the cream of the cinematic crop,” would profit greatly with better music. Copland asserts that the score is designed to strengthen and underline the emotional content of the entire picture supplying a sort of human warmth to the black-and-white, two-dimensional figures on the screen.

“Fantasia,” unfortunately, does not fall into Copland’s “cream of the cinematic crop.” Perhaps the film’s musical criticism originates from the Disney Company’s sense of entitlement regarding selected music. Unlike any other film at the time, producers of “Fantasia” took the liberty of using works from big-name composers of classical music while adding to them their own personal, random interpretations. Animators may be skilled in creating cartoons, but having no musical background or education, it comes as no surprise that some critics say “Fantasia” butchered the music it employed. Furthermore, Disney does not use the music to enhance the picture, but rather uses animation to enhance the music. This assumes that the music needs enhancing thus further insulting the world-renowned composers. “Fantasia,” though perhaps a good source of entertainment, ultimately shows Disney’s arrogance, despite its musical disability, through the artistically improper connections between image and music.

Playing in 'Toon: Walt Disney's 'Fantasia' (1940) and the Imagineering of Classical Music

Clague, Mark. “Playing in ‘Toon: Walt Disney’s ‘Fantasia’ (1940) and the Imagineering of Classical Music.” American Music 22.1 (2004): 91-109. University of Illinois. JSTOR. Van Pelt Library Philadelphia, PA. 26 Nov 2008.

Clague opens with “Fantasia’s” style. A “new kind of art,” “Fantasia” creates meaning out of music and images through audiovisual alignment. Such meaning should expose the public, presumably having no musical knowledge, to a wider understanding of classical music. Disney achieved this goal with “Fantasia” by creating a series of shorts, each of which was associated with a particular piece of classical music (such as Bach’s Toccata and Fugue in D Minor of the opening vignette). With the help of Leopold Stokowski and the Philadelphia Orchestra, Disney attempts to teach viewers how to listen to such music. The animation acts as a visual aid to suggest information about listening to the music. More specifically, “Fantasia” is an early example of Disney’s “Imagineering,” exemplifying the combination of science and creativity, engineering and imagination. Certain critics suggest that such a composition may have damaged the music; inevitably, image always dominates sound. However, the Disney Studio used that implication to its advantage in “Fantasia” by introducing a number of associations, ideas, and references to the music. Appealing to middlebrow culture and an uneducated middle-class, “Fantasia” provided easy access to the high-end classical music. Abstractions of sound were connected with imagery of commonplace experiences to allow the public to better relate to the pieces. Themes expressed by the film are faith in scientific research and progress; Darwin’s theory on evolution in The Rite of Spring segment; racism (though more obvious passages were self-censored in the 60’s and do not appear on the modern editions of the film), mainly in depictions of black picaninnies; sexism; homophobia and gluttony (Bacchus, who is over weight, and the donkey kissing); as well as family, parenting, love, youth, etc. Though many of these ideologies are rejected by today’s society, Americans in the 1940’s more readily embraced them. In effect, “Fantasia” reflects the ideological viewpoints of its time, serving today as an important reminder of where America has been and what is aspired to be.

Clague exemplifies, in this article, Disney’s goal to make “Fantasia” an educative production. The film therefore has a clear message in mind and does not leave much room for personalized interpretation. More harmful still are the commonplace associations with the music. Such banalities associate the corresponding music to lack of musical innovation and of individuality. This visual imposition therefore truly taints the musical pieces of great composers whose work has been subject to Disney’s distortions. The Disney Studio effectively changes the nature of the music by limiting the listener’s creativity. As such, “Fantasia” is the opposite of art because it introduces only one correct idea and expresses as true, perhaps resembling propaganda. Though there is the unresolved debate of propaganda’s artistic nature, “Fantasia” is not even propagandistic art because it was not created as such. “Fantasia,” an entertaining animated film and not a political advertisement, confines the viewer to one clear interpretation, rather than implying a message through abstraction. This film is therefore fundamentally not a work of art. It is simply the middleclass entertainment that it depicts.

'Fantasia' and the Psychology of Music

English, Horace B. “’Fantasia’ and the Psychology of Music.” The Journal of Aesthetics and Art Criticism 2.7 (Winter, 1942-1943): 27-31. Blackwell. JSTOR. Van Pelt Library Philadelphia, PA. 30 Nov 2008.

English reminds the reader that the combining music and dramatic production is an old technique. Therefore, there has always been music that was written to accompany drama. Such music is composed around the story in order to enhance it. Some of the pieces in “Fantasia” were written as such, and therefore Disney’s visual accompaniment does not destroy the music. On the other hand, most of the sequences in “Fantasia” use the music as the base and write the story around the music, ignoring the inherent differences between visual forms and musical forms. He explains this by describing man’s relationship to sound. Sounds have become abstractions and carry an infinite variety of plastic meanings. There is no fixed meaning of a musical sound. On the other hand, the eye is an organ of reality meaning that what is seen—painted, written, pictured, etc.—holds far more acceptability than what is heard. “Seeing, not hearing, is believing,” he asserts. He says that when we are really responding to music, we are creating something unique and individual; and at the moment of such creation, anyone else’s response, be it ever so beautiful, is only a distraction and an annoyance.

This article exemplifies one of the biggest critiques of “Fantasia:” mixing two forms of art inappropriately. According to English’s view on music, Disney ends up annoying the viewer with this combination rather than impressing him. In the context of “Fantasia’s” purpose, English seems to take the repercussions of the sound-image relationship too far. Disney wanted to expose lower-class audiences to the mysteries of classical music while demonstrating his talent in animation. However, with an intellectual mindset, the viewer sees the images as “a distraction and an annoyance.” Disney thus succeeded in entertaining his uneducated viewer, but he could not gain approval of intellectuals. English describes music, which is not written around a story, is an art form of its own. As such, artistic music provokes individual emotions that should not be normalized as they are in “Fantasia.” Unfortunately, Disney’s attempt failed to consider the musical characteristics that were the cause of much critique. As an entertainer, Disney seems to be doing the job with this film. On the other hand, as an artist, Disney overlooks fundamental aspects of art. Disney’s lack of basic artistic comprehension contributes to “Fantasia’s” failure as a work of art.

Walt Disney's Fantasia / by John Culhane.

Culhane, John. “Night on Bald Mountain/Ave Maria.” Walt Disney's Fantasia / by John Culhane. 0810980789 series New York : Abradale Press/Harry N. Abrams, 1999, c1987. 181-205.
Call#: Van Pelt Library PN1997.F3317 C8 1999

This segment addresses the aesthetics in the last number of “Fantasia” which combines Modest Moussorgsky’s bone chilling tone poem “Night on Bald Mountain” with Franz Schubert’s pacifying Ave Maria. Disney’s goal here was to visually shock the audience with the audio bridging of these two drastically different pieces. This would ultimately address the conflict between good and evil. Vladimir Tytla successfully conveyed the demonic aspect of Moussorgsky’s music with impressive animation amplified by special effects and camerawork. Furthermore, Moussorsky’s music was used to its full potential because the Disney Studio was able to increase the tone of a descending passage—low notes however loud they may be played decrease tone in a classical live stage setting. The transition to “Ave Maria” occurs with the sounding of a bell forcing the demons to retreat as dawn approaches and a series of pilgrims are depicted. “Ave Maria” serves an emotional relief to the audience, undoubtedly tense from the shock of Moussorsgky’s malignant music and its grim visualization. Though Disney was unsatisfied with his animator’s production of this scene, he finally realized his vision only days before the premiere; in Disney’s eyes it was finally perfect. The use of Fantasound in the scene was one of the most important technical components that aided the scenes effects. Fantasound made it seem as though “the spirits of the pilgrim choristers were in procession up the side aisles of the theater.” Disney, Stokowski, and their coworkers had created an entire animated concert while taking full advantage of the animation medium.

Moussorgsky’s piece was written to accompany a story so its style is unusual. Disney's images of demons from the underworld are uncommon as well, since Walt did not want to portray traditional horror motifs. Combining the two creates a harsh sensation while it increases the tension and discomfort of the viewer. However, the following “Ave Maria” sequence erases any fear created by "A Night on Bald Mountain" primarily through its music but also through its animation. Disney and his staff used the sound-image relationship here but they extended that concept by creating a relationship between two sound and image combinations. It is interesting to note that the music alone, the animation without sound or the separation of the two parts would have created something ordinarily unimpressive. The genius behind this last scene is the perfect synchronization of sound and image and the astute bridging of the two pieces. Musical senses are amplified by animation, and furthermore the coupling of two extremes heightens reactionary emotions. This well-constructed scene is perhaps the best example of “Fantasia” working as a form of art. Though the interpretation of the music is depicted directly, and not implicitly, the meaning of the combination of pieces is only suggested. Disney finally required interaction from the viewer perhaps hinting at "Fantasia's" artistic value or, at least, its artistic potential.

Disney's Fantasia

Disney's "Fantasia" (1940) is an innovative masterpiece combining classical music and images to form an animated concert to educate those not fortunate enough to experience classical music and all its beauty. The film represents a magical form of entertainment reinforced by Disney's technological advancements. However, the producers of the film, especially Walt Disney and Leopold Stokowski, regarded the film as more than entertainment. They saw "Fantasia" as the creation of a new artistic form combining music and sound to convey ideas. Unfortunately for Disney, many musical critics disagreed with the film's use of classical music accusing the company of having forever ruined the pieces. From this disagreement arises the debate of "Fantasia's" functionality: is the film simply entertainment or does it possess a more significant artistic characteristic?

Bibliography Project: Bambi (1942)

Thesis: Disney's feature-length, animated film "Bambi" is not simply a movie for children, an idea advanced by the notable "Disneyfication" of its story and characters. Rather, the Disney Company has been accused of incorporating outside influences and covert messages into the film's storyline. Such messages have the ability to influence audience members emotionally, psychologically, and intellectually, and have continued to do so since the film's original release in 1942. Conclusion: In conclusion, Disney's film "Bambi" has used covert messages and worldly influences to stir both emotional and motivational responses from its viewers.

Gospel according to Disney : faith, trust, and pixie dust / Mark I. Pinsky.

Chapter Seven (Bambi (1942): Man Is In the Forest) from Mark Pinksy's book entitled The Gospel According to Disney: Faith, Trust, and Pixie Dust summarizes the story of Bambi. An overall, uniting factor to the film itself is an emphasis on relationships. The relationships of Bambi throughout the film include: a maternal one with his mother, friendships with Thumper and Flower, and lastly, the romantic union with Faline. All of the relationships serve to teach children about maturing and growing up.

Pinksy's chapter devoted to Bambi reveals another life lesson that has been infused into this Disney film. This message shows viewers the levels of relationships one progresses through during one's maturation into adulthood. Even though Disney tells this somewhat straightforward message, it is guilty of "Disneyfying" it, skirting around the issue of the birds and the bees by describing "sexual attraction" as a matter of "'twitterpation'" (Pinksy 49). This is necessary, for Disney's primary audience is young children. On the other hand, critics have been stringent in their attacks against Disney's infusion of "Disneyfied" messages throughout their animated films.

Pinsky, Mark I., 1947- . Gospel according to Disney : faith, trust, and pixie dust / Mark I. Pinsky. 1st ed. 0664225918 (alk. paper) series Louisville, Ky. : Westminster John Knox Press, c2004.
Call#: Van Pelt Library PN1999.W27 P56 2004

Walt Disney : Hollywood's dark prince : a biography / by Marc Eliot.

A section of Chapter 13 from Marc Eliot's book Walt Disney: Hollywood's Dark Prince attributes the "emotional power" of the film to its "autobiographical complexities" (Eliot 178). Readers learn the Bambi was created during the same period of time when both of Walt Disney's parents died. For this reason, Walt suggested a "melancholic desire" to revisit his "childhood and...the animals who first stirred his artistic soul" (Eliot 178-179). The impossibility of his desire, however, is shown through the "fire that destroys Bambi's forest" (Eliot 179).

Eliot's mention of Walt's direct influence on the overall tone and visual appeal of the animated feature Bambi demonstrates yet another influence that shaped the Disney classic. The mixed tones of the film, ranging from the joyful, carefree one emanated from the adorable, lovable woodland creature to the dark, sinister one as a result of Bambi's mother's death and the climatic fire that destroys Bambi's home, directly reflect Walt's own struggle with coming to terms with the death of his parents. Walt thus transfers his own grief to the viewers' emotions.

Eliot, Marc. . Walt Disney : Hollywood's dark prince : a biography / by Marc Eliot. 155972174X : series Secaucus, N.J. : Carol Pub. Group, c1993.
Call#: Van Pelt Library NC1766.U52 D5328 1993

JSTOR: The Art of Walt Disney, Exhibition and Lectures

This bulletin from 1939 reviews an exhibition of Walt Disney's art held at Harvard University's William Hayes Fogg Art Museum. The month-long event included the displaying of Disney's sketches, storyboards, drawings, color experiemnts, and final images on celluloid. The article describes the different departments of the Disney studio and notes that materials were collected from each one to represent a different phase of the animation process. It is also noted that this division of labor is no mere assembly line, and the work is never routine due to the changing nature of the techniques involved; thus the production process for each film is unique. The presentation of the materials was accompanied by a series of lectures given by Harvard Professor Robert D. Feild, a curriculum that distinguished the exhibition from other Disney art showcases of the time. Professor Feild focused on the creation of animated films as a prcoess, and materials were selected to reflect the specific stages of production ("Story, Lay-out, Animation, and Screen"). This "workshop" approach to Disney's art provided a departure from other similar events of the time that focused mainly on aesthetics.

While it is short in length, this document provides a primary source that demonstrates the view of Disney's work as art in the late 1930s. It is especially significant that this validation comes from a source as esteemed as Harvard University. This treatment of Disney's work as art would seemingly contradict my thesis. However, it is significant that this institution chose to take the animation production process as its primary focus (as opposed to the intrinsic aesthetic value of the pieces, themselves) while still classifying the presentation as an art exhibit and containing it within the university's art museum. This subtle detail actually supports my thesis because it shows that even when nominally considered as "art" by a prestigious university, Disney's work was treated differently than other forms of art by critics of the time. In this instance it was the spectacle of the technological prcoess that was the main subject of the exhibition, rather than the images themselves. The materials were included as an enhancement of the lectures regarding the production process. Fantasia was thus released one year later into an atmosphere in which the major appeal of Disney's work was really its technical rather than its artistic merit.

"The Art of Walt Disney, Exhibition and Lectures." Bulletin of the Fogg Art Museum mar. 8 (1939): 58-58. JSTOR. University of Pennsylvania Library, Philadelphia. 29 Nov. 2008 <http://http://proxy.library.upenn.edu:2097/stable/4301055?&search=yes&term=animation&term=form&term=art&term=disney&list=hide&searchuri=%2faction%2fdoadvancedsearch%3fq0%3ddisney;f0%3dti;c0%3dand;q1%3dart%2bform;f1%3dall;c1%3dand;q2%3danimation;f2%3dall;c>.

JSTOR: Disney's 'Fantasia'

This article, appearing in a 1941 issue of The Musical Times, is a review of the original release of Fantasia. The author presents a somewhat biting critique of the film for failing to meet the standards put forth by the classical music pieces it features. The main criticism voiced here is that the film's visual "Disney style" is so overbearing that the character of the music is overshadowed. While the author acknowledges the creative and effective pairing of visuals with music in a few of the film's sequences, the article maintains that Fantasia still does not constitute an innovative work of art. The author argues that the film is merely a second-rate extension of the "Silly Syphonies" series of animated shorts. The article closes with the repitition of its orginial criticism: Fantasia takes on too much in terms of the music at the heart of its presentation.

This article represents the prototypical response from the music community at the time of Fantasia's orginal release. This critic conveys ambivalence at best, describing some redeeming qualities of the film but still condeming it as a failure in both the beginning and end of the article. This relates to my thesis in that it provides an example of negative criticism at the time of the film's release. The author is not able to view the film through a historical lens, so the only perspectives offered are those that relate to the aesthetics and intertextuality of the film. In this case the reviewer is predominantly concerned with the face value of how Fantasia treats classical music, and in his eyes it fails to meet its potential in this respect.

McN. "Disney's 'Fantasia'" The Musical Times sep. 82 (1941): 349-49. JSTOR. University of Pennsylvania Library, Philadelphia. 29 Nov. 2008 <http://http://www.jstor.org/stable/922891?&search=yes&term=fantasia&term=disney&list=hide&searchuri=%2faction%2fdoadvancedsearch%3fq0%3dfantasia;f0%3dall;c0%3dand;q1%3ddisney;f1%3dall;c1%3dand;q2%3d;f2%3dall;c2%3dand;q3%3d;f3%3dall;wc%3don;search%3dsearch>.

Fantasia: Cultural Constructions of Disney's 'Masterpiece'

Luckett explores the cultural discourse surrounding Fantasia at the time of its release, finding mixed reviews of the animated feature film. Positive reception focused on the film's master animation techniques and somewhat abstract narrative structure, while negative criticism came mainly from representatives of the music world who saw classical music and film as incompatible - the former being art and the latter being a "distraction." The author also analyzes the marketing and distribution strategies that made Fantasia a spectacle. Disney positioned the film as a "prestige picture" by releasing it as a roadshow, traveling around the country visiting large theaters in major cities. This strategy of infrequent screenings served popular as well as technical purposes, creating suspense/"buzz" but also allowing time for theaters to install the necessary equipment for the film's multi-channel audio "Fantasound" technology. However, this distribution method also kept the film from earning enough revenue to make up for its enormous budget. As a reslt, the film went on to be re-released many times over the next several decades. Luckett examines the conditions around these re-releases as well as their individual receptions, finding a "double connotation" in the contemporary United States. Some products (e.g. home video copies of the film) signal the film as a children's/family amusement, while other products (e.g. the Collector's Edition tapes, classical music soundtrack, lithograph) associate the film with art. The author concludes that contemporary (1990-91) marketing strategies for Fantasia re-releases mirror those for its original release: both focus on the rarity of the chance to see the film.

This article is important because it represents a kind of meta-analysis of the releases and receptions of Fantasia over time. The author acknowledges the hostility the film originally received from the musical community and argues that Fantasia has consistently been marketed as a rare event. My thesis uses similar information as explored in this article and expands on the author's conclusion by also taking into account how temporal distance from the original film affects its interpretation as art versus mass commercial commodity. While Luckett does mention the "double connotation" of the film in recent years regarding its relationship to art, this aspect of the article is mainly focused on the marketing techniques involved to produce such an effect. In this way the author's explanation here provides a more complete picture of how Fantasia has come to be viewed as art over the years.

Luckett, Moya. "Fantasia: Cultural Constructions of Disney's 'Masterpiece'" Disney Discourse: Producing the Magic Kingdom. Ed. Eric Smoodin. New York, NY: Routledge, 1994. 214-36. Google Books. 22 Nov. 2008 <http://http://books.google.com/books?hl=en&lr=&id=wpxzl1lcr30c&oi=fnd&pg=pr9&dq=fantasia+disney&ots=fdmktnkohv&sig=hx9e44_3n-ovwcn1ikbssvzu1vy#ppr6,m1>.

LexisNexis: For Disney, Something Old (and Short) Is New Again

This New York Times article was written in response to the announcement of Disney's recent (2006) strategy to reintroduce animated shorts to its lineup of cinematic productions. These short programs will appear before Disney feature films in theaters. The author mentions that nearly half a century has passed since the company regularly produced short cartoons, a hiatus initially brought on by soaring production costs after World War II. According to the article, the short format is making a comeback not with the hopes of turning a profit in the short run but instead as a long-term investment. These shorts represent a relatively low-risk way of "trying out" new talent (directors, animators, especially women). A key distinction is made between the recent animated shorts that Disney has made as a "purely artistic exercise" and the new cartoons that will be more commercial in nature. The author notes that Warner Brothers tried a similar resurrection of an old commercial form (Looney Toons shorts), but they did not succeed in their attempt. According to leaders within the Disney company, this new endeavor is meant to grow the studio in the same way the shorts program grew Walt's original studio more than 70 years ago.

The article is important because it highlights the resurgence of an older form of entertainment/cultural production in modern times first as art form, then as commercial product/commodity. When the "artistic" animated shorts (''Destino,'' ''Lorenzo'' and ''The Little Match Girl'') were introduced, they utilized an antiquated format (short cartoon) to experiment with new artistic and methodological techniques. This "new wave" of shorts provided a space for the introduction of new art forms, as opposed to the upcoming variety of short cartoons that are meant to be exercises in proficiency at conventional techniques for "new talent." While the first wave of new shorts was intended to be an artistic experiment, some of the films even winning Oscars, the newer variety of shorts is designed purely as a cost-effective training ground for Disney animators. This vocational transformation supports the idea that nostalgia for old commercial formats lends them an aura of art, while the familiarity of a form in current use (even one that has recently been resurrected from an older time) makes it a prime candidate for mass commercial use. The notion that old=art and current=commodity is supported by the distinction made between the commercial plan for these two types of recent Disney shorts.

Solomon, Charles. "For Disney, Something Old (and Short) Is New Again." The New York Times 3 Dec. 2006: 22-22.

YouTube - Silly Symphony - The Three Little Pigs

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.

Semenza, Gregory M. Colon. "Teens, Shakespeare, and the Dumbing Down Cliche: The Case of The Animated Tales." The Shakespeare Bulletin. Volume 26, Number 2, Summer 2008.

This journal article deals mainly with the series of films entitled Shakespeare: The Animated Tales, and aims to address the cliche that when portions of the plays are removed in order to make the films, the works are simplified or "dumbed down" to the point where the quality is almost completely sacrificed. It suggests that a better way to analyze the films is to examine them as films, and not as literature, and therefore acknowledge the omissions but still treat the work as a whole. In addition, this reading sees these cuts as necessary to enhance the cinematographic needs of the medium, and the choice of animation brings these valuable and culturally significant stories to a new generation.

The article goes on to cite Walter Benjamin and Sergei Eisenstein's early writings that see animation as significant and important, and claim that it serves as the experimentation necessary for the progress of cinema as a whole. A primary example of Disney's experimentation with anti-realism, according to the article, is the "Silly Symphonies" series of short animated films. The author sees experimentation in various aspects of the film, including "self-reflexivity, technical innovativeness, violation of natural spatial-temporal rules, and violence," and cites other writings which claim that part of the influence of the films lay in their ambiguous target audiences. The films were "not just children's stuff, and certainly not sugar-sweet. Whether they were for adults or children was indeterminate." It was the animated feature Snow White and the Seven Dwarfs that ended this era of experimentation for Disney, and proved that cartoons could be respectable, even "antiseptic." While Warner Brothers continued to be edgy, Disney was now mainstream and accepted by the Production Code.

This article helps me prove the foundation of my thesis, that the Silly Symphonies began as experimental works that allowed Disney and its animators to try new technologies and new forms. It also helps me show that this experimentation led directly to the development of elements, like narrative, character differentiation, and others, whose perfection made the production of an animated feature-length film possible.

Schickel, Richard. The Disney Version: The Life, Times Art and Commerce of Walt Disney. New York: Simon &Schuster, 1985.

In Chapter 18 ("Everyone Grows Up") of this book, the author discusses the Silly Symphonies, beginning with Three Little Pigs. He provides details and statistics about the film's success, as well as corroborating them with an account of how the old practice of "bicycling," or lending of prints to neighboring theaters between showings, became necessary due to the extent of its popularity. He also mentions that the hit song featured in the film, "Who's Afraid of the Big Bad Wolf," was written by Disney composer Frank Churchill, while the lyrics were supplied by Ted Sears. An anecdote about Mary Pickford's visit to the studio as the short was being made is supplied. Multiple quotes are included, and one of Walt Disney's stands out in which he comments that in Three Little Pigs, the studio has finally achieved the goal of creating characters with different personalities.

The book also discusses the seeming resonance of the short film's message with Roosevelt's appeal to Americans to stick together and not give up hope, but delves deeper and notes that Hoover's message of self-reliance, sturdy, conservative building and keeping the house in order are evident. Practical Pig even looks a bit like Hoover! There is an element of reproach to the tale, as if the pigs who built poorly and spent the rest of their time in frivolities had just worked a bit harder, they could have prevented the Depression and other evils lurking in the wings. But an interesting element of this chapter is its inclusion of Disney's responses to these readings; he is quoted as claiming he intended no such message, and even no message at all. He says they were intended to convey nothing more than was shown, and that he left interpretation to others.

This book would be a helpful resource because it provides primary sources, namely Disney’s own words, about the success of bestowing individual personalities upon characters in Three Little Pigs. It also gives an interesting reading of the underlying message of the film but provides evidence that Walt Disney didn’t intend for these readings at all. It proves, using Walt’s own quotes, that Disney saw this film as the first true triumph in character development and differentiation. In addition, as an account of his entire life, the book is a wealth of information pertinent to the background of Walt Disney and his studio.

Disney's Three Little Pigs and other Silly Symphonies: Experimentation and Transition

From 1929 to 1939, Walt Disney produced a series of 76 short animated films. "Three Little Pigs," which was released in 1933, marked the first example of the technical innovation and experimentation whose culmination would make possible Disney's future work, and the beginning of an era of feature films with recognizable characteristics for which Disney would become known. "Three Little Pigs" pioneered in the areas of narrative, character development, color, and music and sound integration; Disney set high goals for itself and achieved them in this short film.

'Fantasia' Discussed from a Musical Standpoint--Sound Reproduction Called

Downes, Olin. "'Fantasia' Discussed from a Musical Standpoint--Sound Reproduction Called." New York Times 14 Nov. 1940: 28. ProQuest Historical Newspapers. ProQuest. Van Pelt Library Philadelphia, PA. 2 Dec. 2008. <http://proxy.library.upenn.edu:2082/>.

Downes’ article is a review of the film in the context of the interpretation of music. He describes that Fantasia proves that wonderful things can be done with the combination of image and music. However, Fantasia is an example of what not to do with such a medium. Downes criticizes the films very purpose. He explains that many musical authorities say that such pieces cannot be related in any other language but there own. Listeners should be free to imagine only what they can fathom and not preconceived, set interpretations. He asserts that nothing positive comes out of “scrambling” different art forms together. He argues that, had the animation been based on musically knowledgeable sources, the film could have been an outstanding creation. He acknowledges several moments in which the film does not harm the music, but for the most part, he disagrees with Fantasia’s depictions. He is utterly repulsed by the sequence of Beethoven’s Pastoral that renders the film worse than “footless.” Though Disney cut and modified the musical pieces to fit the animation, Downes notes that fortunately the music has survived, but such inappropriate representations should not encompass such acclaimed musicians.

From a musical standpoint, “Fantasia” is a monstrosity. Borrowing from already-established music, “Fantasia” attempts to invent a form of expression that it cannot sustain. Conceptually, Disney was on the right track with “Fantasia,” but it is impossible to nationally portray false interpretations of such acclaimed musical pieces without being reprimanded by musical authorities. Rightfully so, Downes and many others were “utterly repulsed” by scenes in the film. Instead of creating art within its medium and conventions, “Fantasia” tries to invent a new kind of art that combines abstract music and images. We can appreciate Disney’s attempt here, but still the studio cannot blend abstract music with childish animation (like with Beethoven’s Pastoral) and get away with it. “Fantasia” is more of a crime against art than a form of art

The Screen in Review

Crowther, Bosley. "The Screen in Review." New York Times 14 Nov. 1940: 28. ProQuest HistoricalNewspapers. ProQuest. Van Pelt Library Philadelphia, PA. 2 Dec. 2008 <http://proxy.library.upenn.edu:2082/>.

Crowther’s review in the New York Times praises “Fantasia” saying, “motion picture history was made at the Broadway Theater” with the premier of the film. He says that although “Snow White” and “Pinocchio” have charm, “Fantasia” goes the extra mile by creating an innovative film that cultivates the imagination to an unforeseen level. Crowther believes that the film goes even further by inspiring the viewer’s imagination with a “spellbinding” range of high-toned music merged with Disney’s fantastic imagery. Crowther expresses that the assigned imagery is actually quite appropriate as it complements the music to create an enchanting form of entertainment. He idealizes each sequence as he explains the high point of each movement, describing it as enchanting, brilliant, even lovable. He adds that the elaborate sound system increases the film’s beauty, though it is too harsh at times. He continues to say that the animation might be too perfect. He asserts that the enchanting images, at times, captivate all the viewer’s senses which ends up detracting from the music. Thus he acknowledges that “Fantasia” is a frank experiment. His final sentence urges the reader to go see “Fantasia,” “if you don’t mind having you imagination stimulated by the stuff of Mr. Disney’s fanciful dreams.”

This is an interesting example that fully justifies the many critiques of the film. In this article, Crowther, a clear advocate for the film, pinpoints “Fantasia’s” biggest problem. Despite his praises and elaborate descriptions, he still thinks the film is at times “too pretty” and clearly states that the viewer’s imagination is altered by the images. “Fantasia” is thus an “experiment” in which the animators have falsely assigned image to sound. “Fantasia” is then just a form of entertainment, exciting in its unconventional composition perhaps, but not to be viewed as truly artistic. Rather, it’s recognition stems from its technological advances in animation and sound and its imaginative depictions that are in themselves captivating but are not of the caliber of the music they are meant to portray.

HighBeam Research: Ebert-Despite its cuteness, `Bambi' is serious stuff -Article from Chicago Sun-Times 1988

Roger Ebert's review of Disney's Bambi in the Chicago Sun Times admits that it is one of the greatest "heartbreaking" movies of all time, but that it contains many messages that wash over viewers who do not take the time to ponder the film. Ebert questions whether Bambi is appropriate for young children to watch since it contains some very serious matter, such as "sexism, nihilism, and despair" (Ebert 1). Children learn such things as the absentness of fathers, the domestic role of mothers who carry the sole responsibility in raising their offspring, and that "courtship is a matter of 'first love'" where the way to win the affection of the opposite gender is through physical aggression (Ebert 1).

Ebert's thoughts and analysis of Disney's Bambi reveal some alternative explanations of covert messages witnessed throughout this film. His work is relevant to this thesis because it expresses other possible interpretations of the movie. Once again, the Disney Company has been accused of instilling their works with hidden messages and meanings, some of which were explored in other articles. These messages have the ability to influence viewers, especially younger children in their formative years of development. Here, there is a change from the usual fear that Bambi instills in children in regards to the death of Bambi's mother and rather shifts the fear to the children's parents, who may be shocked to learn of the messages the film is advancing.

Ebert, Roger. "Despite its Cuteness, `Bambi' is Serious Stuff." Chicago Sun Times. 1988.

Illusion of life : essays on animation / edited by Alan Cholodenko.

Brophy, Philip. "The Symphonic Experience: Notes on early Disney animation." Illusion of life : essays on animation / edited by Alan Cholodenko. 0909952183 series Sydney : Power Publications in association with the Australian Film Commission, c1991. 73-86.
Call#: Van Pelt Library NC1765 .I37 1991

Brophy identifies the Disney Company as important, first and foremost, for its inventions, devices, and processes that have defined and refined animation as we know it. Disney constructs cinematic totality with the interaction between image and sound. Regarding Disney productions, Brophy defines musical composition as an organic life force and image as an artificial life force. Disney’s fusion of the two leads them to distil each other, to effect a symbiotic relationship emphasizing synchronization. The sound cartoon world, he explains, is one where every mark and squiggle is energized by rhythm, vibrating in reaction to the soundtrack. Brophy suggests that “Fantasia” honors the organic life of music to which the trickery of animated imagery could only aspire. An example of the symbiotic relationship between sound and image, “The Sorcerer’s Apprentice,” shows how the orchestra conductor directs music while experiencing it. The experience and the direction determine each other. The real versus the dream-like are evoked in Mickey’s dream sequence. The passage demonstrates that music’s relationship with time is always relative. One’s reaction depends on what precedes and follows the sound. “A World is Born” is a commentary on the whole illusion of life which we infer from the preceding voice-over narration that delivers a literal content. Stravinsky’s score expresses a violence of rhythm, which Brophy links to barbaric behavior and reproductive and procreative activity (the juxtaposition of orchestral bursts and erupting volcanoes represents the phallic thrust of creation). Disney’s animated shorts and features manipulate sound-image relationship to mobilize narrative construction and our place within the text.

Music’s relationship with time explains the conductor metaphor that he can control a piece’s direction during his performance, but can never fundamentally alter it. The conductor thus never redefines music in any other temporal context but his own. The conductor, symbolizing the producer in the context of film, is given the opportunity to place the audience within his “text” to create a specific perceived narrative of sound within one sole context. The Nutcracker Suite in “Fantasia” is proof that associations and interpretations are all relative. In this sequence music is depicted by fantasy and nature. Coincidentally, it never alludes to the theme of Christmas for which the soundtrack was originally composed. The film therefore illustrates the myriad possibilities in musical direction while inferring that interpretation is contingent only on time. Brophy’s theory on the relationship between image, sound, and time proves Disney’s artistic intentions to simply sway the audience in a certain direction. Unfortunately, the animation, like that of the erupting volcanoes for example leaves no room for individualized creativity because it so clearly defines the action. Though the synchronization of music and this particular animation does not intrinsically harm the musical pieces, it does devalue them as art in the temporal medium of “Fantasia.” By falsely directing such musical manipulation, “Fantasia” significantly decreases its own artistic value.

LexisNexisB. Academic: David Wilkes-After 66 Years, Bambi is Still Making Us Cry-Daily Mail (London) 2008

David Wilkes's newspaper article entitled "After 66 Years, Bambi is Still Making Us Cry" informs readers that a recent poll reveals that the Disney animated film Bambi is considered the greatest "tear-jerker of all time," beating out other films such as Titanic and Ghost. The impact of the film on viewers has caused great emotional reactions, such as Sir Paul McCartney's that led him to become interested in animal rights. The article continues with studies that suggest that watching television shows or movies that showcase manipulation and aggression have a similar effect as from watching graphic violence, namely, viewers may be more aggressive and unkind.

Wilkes's article provides evidence of the reality that watching films can evoke emotional reactions from audience members. Although Bambi is an animated film, it has been named one of the saddest movies of all time. This is due to the combination of anthropomorphized characters and the film's focus on dealing with very real emotions and events that viewers relate to with great ease. The greatest example of this in Bambi occurs when Bambi's mother is killed by hunters. Although the actual action of the killing is never shown on screen, audiences have reacted consistently upon viewing this scene, that is, with great sadness. Afterwards, Bambi is shown searching the snow covered ground for his mother. His father then appears and states that "Your mother can't be with you anymore." People most likely relate to this particular scene because it showcases one of the greatest fears humans possess, the fear of losing a parent.

Wilkes, David. "After 66 Years, Bambi is Still Making Us Cry." Daily Mail (London) 1st Edition (13 Oct 2008) 22.

LexisNexisB. Academic: Mark Henderson-Disney Cartoons 'Contain Secret Messages on the Environment'-The Times (London) 2008

Mark Henderson's article "Disney Cartoons 'Contain Hidden Messages on the Environment" talks of how Disney films, like Bambi, The Jungle Book, and Pocahontas, have continually played an important role in "educating the public about the environment" (Henderson 28). Although Disney movies are generally viewed as "little more than escapism," many have featured messaged on "conservation and the relationship between people and the natural world" (Henderson 28). Bambi significantly influenced many to become environmentalists and initiated a movement for environmental activism.

Henderson's article is significant because it demonstrates yet another effect the Disney film Bambi had on its audiences. The idyllic portrayal of nature and animals influenced many people to become more aware of the threats humans pose to their natural environment. According to the article, many conservationists and green activists cite Bambi as their initial impetus for becoming involved in environmental work.

Henderson, Mark. "Disney Cartoons 'Contain Hidden Messages on the Environment." The Times (London) Home News Section (25 Mar 2008) 28.

JSTOR: Ralph H. Lutts-The Trouble With Bambi: Walt Disney's Bambi and the American Vision of Nature-Forest and Conservation History 1992

Ralph H. Lutts' article "The Trouble With Bambi: Walt Disney's Bambi and the American Vision of Nature" focuses on the scope of Disney's influence within the American culture. His central argument throughout the text is that the character of Bambi "has played and continues to play" an important role "in shaping American attitudes about" and their "understanding of deer and woodland life" (Lutts 160). Although Lutts mentions a few important effects of Bambi, including its impact on viewers, especially young children, regarding the loss of a parent, he mainly addresses the film's strong anti-hunting message. This message is conveyed to viewers on a purely emotional level. Disney animators created a visual environment with loveable, sympathetic characters whose emotions are directly transferred to those of the audience members. This, in turn, has resulted in the popularization of the name "Bambi" as being synonymous with the term "deer" and being sentimental (Lutts 168). In addition to the support Bambi raised for opposition to hunting, the film caused a national debate over the timeless practice and raised many questions about the use of and necessity of it.

Lutt's article is important because it provides an example of how Disney movies influence the American public. Not only did Bambi arouse anti-hunting advocacy, it also stirred a debate on a national level regarding hunting in general. It demonstrates that Bambi was not simply a cartoon movie, but faced real-life problems, for instance, the harm of hunting and man's sometimes ignorant manners in dealing with nature. This is seen when Bambi's mother is killed by hunters and later when the forest is set ablaze as a result of the careless hunters. These scenes from the film evoke emotional reactions in the viewers and show them that they are responsible for nature and that care needs to be enforced in protecting it from destruction.

Lutts, Ralph H. "The Trouble With Bambi: Walt Disney's Bambi and the American Vision of Nature." Forest and Conservative History Vol. 36, No.4 (Oct 1992) 160-171.

Shelly R. Scott - Conserving, Consuming, and Improving on Nature at Disney's Animal Kingdom - Theatre Topics 17:2

Shelly R. Scott's article entitled "Conserving, Consuming, and Improving on Nature at Disney's Animal Kingdom" centers on Disney's use of the "fictional and artificial" in order to represent the real and how this "complicates the experience" of visitors (Scott 111). He claims the Disney's Animal Kingdom represents the "Disneyfication" of nature, which shows that nature is something to be "contained, packaged, and used instead of respected and protected" (Scott 114). In conjunction with the use of fake animals and costumed people, even the living animals in the park are trained to perform functions that revoke their realness and anthropomorphize them.

Additionally, Scott argues that the park teaches visitors "little about animals and how to protect them" and rather reinforces a "Judeo-Christian interpretation of humans' relationship with animals" (Scott 111). This relationship is simply that animals function to serve humans. This is witnessed in Old Testament writings where God gave the first humans dominion over the animal kingdom. The Judeo-Christian imagery is noticeable throughout the park, especially in relation to the park's great Tree of Life. Not only is the Tree of Life an allusion to the tree of life in the Garden of Eden, but it also reflects the idea of "human mastery...over nature" (Scott 114). Other Judeo-Christian messages are evident within the DIsney Company too, namely, the idea that "one of the least animals have become the mightiest" (see Luke 9:48), with a mouse established as the ruler of the Disney empire.

Scott's article is extremely relevant because it addresses two key components of the Bambi thesis. Firstly, Scott addresses the "Disneyfication" of nature and the anthropomorphism of Disney animals. In regards to Bambi, both are evident within the film. Bambi uses "allegorical anthropomorphism," where "animal characters stand in for people" in order to tell a story or teach a lesson. This is used to relate humans with animals, a practice that can alter children's perception of nature and how they should react to it. In this way, the film, just as the park, fails to teach children about animals and nature, an ideal Disney states as one of its objectives. Secondly, the description of the Judeo-Christian elements expressed in the article is shown as an integral part of Disney's Animal Kingdom, and more broadly, the company itself. This, once again, demonstrates how Disney incorporates messages into its work that can influence members of its fan base. Although Bambi is not explicitly an advocate for Judeo-Christian ideals, there are a couple of elements that can be interpreted as such. For example, the idea of being in love, having lifetime partners, and creating a family together, as seen with Bambi and his parents and then later with Bambi and Faline, can be viewed as a uniquely human experience and the fulfillment of the sanctity of marriage through the Church.

Scott, Shelly R. "Conserving, Consuming, and Improving on Nature at Disney's Animal Kingdom." Theatre Topics 17.2 (2007) 111-127.

Danks, Adrian. "Huffing and Puffing about Three Little Pigs." Senses of Cinema. November 2003.

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.

Dorothy Goldbart Clark - Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney (review) - The Lion and the Unicorn 25:3

Dorothy Goldbart Clark's book review of Robin Allan's book entitled Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney summarizes Allan's notion that Disney films had roots in "European cultural and artistic forces" (Clark 427). From the onset of Allan's book he states that "Disney is an international institution" who borrowed from "European...literature, graphic and illustrative art, music and design, as well as upon European and indigenous cinema" in order to produce a new art form (Allan Preface, xv). In short, Disney repurposed European sources with the goal of creating something new with his animated movies. Allan reveals that the source of notable European influences stems from both Walt Disney's numerous trips to Europe and the company's employment of European artists. Beginning as far back as the 1920's, elements from "vaudeville, the circus, European melodrama, as well as the graphic style of European newspaper cartoons and the European anthropomorphic tradition in illustrated art," was evident in Disney animated features (Clark 427, 428).

Disney films have been known to contain influences and messages that result in effecting and eliciting responses from audience members. These influences are not only found in the visual style of animation, but also are evident within ideals incorporated throughout the works, whether puposefully placed there or not. Clark's review of Allan's work brings truth to this claim. Although it focuses more specifically on the Disney Company's European influences, the article brings light to the overall notion of incorporating outside influences to their animated, feature-length films.

Allan, Robin. Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney. Bloomington and Indianapolis: Indiana UP, 1999.

Clark, Dorothy Goldbart. "Walt Disney and Europe: European Influences on the Animated Feature Films of Walt Disney." The Lion and the Unicorn 25:3 (2001) 427-432.

Finch, Christopher. The Art of Walt Disney: From Mickey Mouse to the Magic Kingdoms. Burbank, California: Walt Disney Productions, 1975.

This is a book of color illustrations and other similar primary source illustrated documents, from final screenshots to draft sketches to storyboard excerpts. The accompanying text provides context for each picture. It begins with a series of essays, the second of which is entitled "Mickey Mouse and Silly Symphonies." The essay discusses how the emphasis on music in earlier short films such as Steamboat Willie and The Jazz Fool led directly to the initiation of the Silly Symphonies. Many are mentioned, such as the first, Skeleton Dance, and the first in color, Flowers and Trees. Two drawings from Three Little Pigs are featured. The essay discusses the evolution of Technicolor, especially from the two-color to three-color system. It also discusses the development of the art of animation, especially as driven by the inventive animator Albert Hurter. He designed settings and main characters, and invested significant effort in developing concepts and visuals which would trigger further development and inspiration on the part of the story writers and other animators.

The essays in this book, and especially the color illustrated accompaniment, would help me intelligently discuss the efforts made at Disney studios to embrace technology and inspire animators. Facts and examples of the development of Technicolor technology and the changes it caused in films are provided and would help me make the point that the Silly Symphonies, the focus of the discussion, were truly a place where new technologies could be tested and Disney employees made efforts to inspire each other to do great things.

What made Disney's Fantasia so significant?

This project is an attempt to understand why a film with an obviously powerful legacy (3 re-releases and a sequel) has had such an impact. Fantasia was released in 1940 to mixed critical acclaim, but has been deemed significant enough to be put on the list of "historically and culturally significant works marked for preservation" by the library of congress. Looking at articles that discuss the film's original release, re-release, its sequel, and those that question the significance of the film, I have concluded that a number of factors have led contributed to its longevity, but the common element is that they were all unprecedented. Fantasia required a level of collaboration and freedom of the production team never-before-seen, redefined the role of music in animation as at least equal to the visual if not more so, and focused on something that could not be attained in any other medium, to illustrate the imagination. Though there are many who had small criticisms of the film, there is a fairly unanimous consensus today that Fantasia is a significant piece in American Cinema. The film was groundbreaking, it changed the way animators thought about the role of music and what animation could achieve, and captivated the audience on a deeper level than traditional animation. It is these pioneering characteristics that make Fantasia such a significant film.

Yes, But Is It Art? A Long-Haired Discussion is provoked by Disney's Novel Fantasia

Crowther, Bosley "Yes, But Is It Art?" New York Times (1857-Current file); Nov 17, 1940; ProQuest Historical Newspapers The New York Times (1851 - 2005) pg. 141

Published shortly after the Fantasia's release, Crowther further discusses Fantasia (having reviewed it only days earlier). Crowther acknowledges the debate surrounding Fantasia, does the film capture a new art form, or merely a gimmick of new entertainment? Crowther highlights all the minor criticisms of the film, that sometimes the dramatic use of sound and color on screen are overwhelming, or that some segments fall short of achieving the desired dramatic effect (specifically "Night on Bald Mountain"). However, Crowther concludes that whether or not it is an art form is ambiguous, it is truly up to the viewer to decide. Some may find it to be a dumbing down of brilliant classical music, while others will appreciate it as the imagination brought to life. Ultimately, the impact it has on the viewer defines the significance of the film and whether or not it can be considered an art form or a spectacle.

Crowther makes some key points about Fantasia and directly addresses the issue examined in this project, why Fantasia is significant. Crowther believed that for all its short comings, the final product was in fact an art form, and was successful at doing what had never been done before. Fantasia was a pioneer in animation, it was the first of its kind and marked a turning point for the continued use of music in animation. The concept of illustrating the imagination in time with classical music was unheard of, and the subsequent freedom given to the animators and collaboration between graphic and musical artists was unprecedented.

The film reintroduces the audience to classical music, hoping to improve upon the works that history has already demonstrated to be significant and universal in appeal. Disney intended the music to be considered as equal in importance to the animation, and his investment in Fantasound was an attempt to reach this goal. Crowther writes that in very few places did the music ever seen "subjugated" to the animation. Fantasia was based around a unique concept, changing the role of music in animation and illustrating pure imagination, and the resulting impact on production was a need to break the traditional mold. Crowther believes Fantasia was significant because it was a novel experience, captivating the audience on a deeper level than a traditional film. There are many elements of Fantasia that made it ground breaking and significant at the time of its release, but its legacy demonstrates that it is clearly a defining work of American Film.

Walt Disney's Fantasia / by John Culhane.

Culhane, John. Walt Disney's Fantasia / by John Culhane. New York : Abradale Press/Harry N. Abrams, 1999, c1987.
Call#: Van Pelt Library PN1997.F3317 C8 1999

The book includes many illustrations with relevant commentary, as well as the general history behind the film. Written just before the release of Fantasia 2000 (the "sequel"), the book explores Disney's masterpiece. It includes insight into the music behind the film, including the process of recording the music, how the animators decided to correlate images with sound, and many of the other behind-the-scenes working of the "imagineers" at Disney in 1940.

Fantasia was not just significant as a film, but this book demonstrates the groundbreaking work that went into the film's production. The piece was intended to be something monumental, and the level of man power and finance was staggering. The book provides commentary on Disney's motivations, both as a form of art and business in making Fantasia. It shows the level of expression the animators were given as well as what they intended with each piece. The cultural impact of the film is also briefly evaluated and the change in style and groundbreaking new concepts of animated film at Disney heralded by the massive production of Fantasia are also addressed. Culhane's book shows how Disney invested time, money, and intellect into Fantasia, with the intent of creating something original and influential.

Playing in 'Toon': Walt Disney's Fantasia and the Imagineering of Classical Music

Clague, Mark "Playing in 'Toon': Walt Disney's Fantasia and the Imagineering of Classical Music" JSTOR: American MusicVol. 22, No. 1 (Spring, 2004), pp. 91-109

This article authored by Mark Clague was published in 2004 in the journal American Music. Clague takes a look back at Fantasia, and the pieces that came together to produce the film. Specifically, Clague goes into great detail about the significance of the use of classical music as the background for the animation. On even a purely technical level, Disney had to modernize classical music to bring it into his film. The production team rerecorded the music with multichannel and stereophonic systems in order to optimize sound quality, demonstrating the further emphasis on the music being considered an equal player in the piece to the animations. The importance placed on the quality of the music is one of the factors that would lead Disney to adapt Fantasound for the release of the film despite the expense. Clague also notes that Disney's choice of classical music played a major role in the future significance of the film. Classical music is something that has withstood the test of time, we are all familiar with it and it has demonstrated its ability to captivate audiences through its own longevity. Disney chose something elegant and appealing for the animators to work with, and thereby heightened the impact of the film, tying its lifespan to the music it was accompanying.

Clague's article grants excellent insight into a major aspect of the film that has contributed to its significance. Disney clearly put emphasis on the music itself, investing in recording and playback sound equipment. The production team considered the music itself to be at least as central as the animation itself, something that had not occured before. The choice of classical music and the focus on the music being a major player in the piece rather than just another layer of polish were revolutionary concepts and the the film that first employed these techniques, Fantasia, has changed the way music in animation is viewed to this day.

Fantasia Preview (1940)

Robins, Sam "Disney Again Tries Trailblazing" New York Times (1857-Current file); Nov 3, 1940; ProQuest Historical Newspapers The New York Times (1851 - 2005)
pg. 121

This article in the New York Times from November 3rd 1940, 10 days before the premiere of Fantasia, is a preview of the film. It comments on the amount of time, money, and effort that Disney put into it, as well as the level of collaboration and prowess it took to put it all together. The author, Sam Robins, notes that this is a departure from the typical Disney recreations of fairy tales, and of particular interest to him is that there is no connecting story between the pieces. Robins goes on to list each of the musical numbers from the film, and accompanying animations. The article contains several images of Walt Disney working with the animators and still images from the film. Most notably is Disney's hopes that the film will live on "after he is gone" because great music is eternal.

The article is a primary source about this historical film. It is a preview to the film that is provided not in modern context, but in the context of the 1940s release, including the expectations of any film based on contemporary culture and Disney's pervious work. The author is wary of the dramatic change in style that Fantasia represents for Disney. It is rather striking how Disney was correct about the legacy of the film, having had multiple rereleases and a "sequel" as well as having been marked for preservation by the Library of Congress for being culturally and historically significant. Even at the time of its release, there was some speculation that Fantasia was going to be significant in the realm of animated film.

Fantasia 2000 (1996 Preview)

DeCroix, Rick "Fantasia" Journal of Popular Film & Television; Summer 1996; 24, 2; Alt-Press Watch (APW)
pg. 103

This article, published in the Journal of Popular Film and Television and written by Rick Decroix, discusses Fantasia in light of its (at the time) upcoming sequel. Written in 1996, Decroix notes that whether or not the audience enjoys Fantasia, it is something to be commended. The film is art, taking the sound medium of music and creating its analog on the silver screen. Decroix acknowledges that Fantasia 2000 can't be the groundbreaking spectacle that the original was, but he is hopeful that it will prove to be in line with the intention of the original, to bring together two art forms into something entirely different.

The author of this review acknowledges the legacy of Fantasia. He claims that the original movie possessed an undeniable "artistic genius". Decroix recognizes the influence and importance of Fantasia 56 years later, with the added contemporary insight granted by having seen the films effects over half-a-century and knowing that Disney is working on a sequel.

Sequels are mixed bag in Hollywood, some fail to capture the success of the original, some are remarkably successful, some are just more of the same, and some destroy the integrity of the original. Fantasia however, had no plot or recurring characters. Therefore, the only element linking these two films is the concept behind them. Fantasia was based around an idea, to animate classical music to add an extra sensory level and help the audience connect. This was an entirely new idea at the time of its conception. Let alone the unprecendented levels of freedom the animators were given, technological improvements, and levels of collaboration that went into the film, the film was founded on a revolutionary concept. The very basis of Fantasia was to connect music and animation, with no regards to traditional plot or character development. The movie was entirely about the music, and this driving force alone made the film unique and pioneering. Fantasia's legacy is long-lived, having taken a whole new approach to what can be done with music, animation, and imagination.

Disney's Fantasia

"Disney's Fantasia" JSTOR: The Musical TimesVol. 82, No. 1183 (Sep., 1941), p. 349

This review of Fantasia, printed in The Musical Times in September 1941 is a mixed criticism of the film. The author is nothing short of brutal in his detraction, commenting on audience members walking out of the film and going so far as to call the film a "failure". The critic acknowledges the bold attempt Disney is making at marrying the two art forms of animation and music, but feels that the patterns in one do not translate well to the other. The author of the review makes one great exception however, the sorceror's apprentice (the famous sequence involving Mickey Mouse himself) was incredibly well recieved. The critic thought the piece was well concieved, the animation matched wonderfully with the piece and goes so far as to say that "it is as if Dukas' little masterpiece has been waiting all these years for Disney to complete it."

This review from the film's original release is excellent in answering the question of Fantasia's significance because it looks at the piece with a focus on the music. The author goes through each sequence and detracts for the most part, understanding Disney's intent in linking animation to music to create something better than either media lone, but states that the film simply fails to hit the mark. It was a noble effort but a failure in the end. Where the critic does praise the film is where its significance is really shown. When Disney does get it right, he creates a masterpiece, something that fits with the music so naturally that it is as though the piece was originally concieved with the accompanying animation in mind. Fantasia blended music and animation on a level never before achieved, and the result was something revolutionary that not everyone initally approved of, but has had an undeniable impact on animation and a powerful legacy.

From Mouse to Mermaid: The Politics of Film, Gender, and Culture: Lynda Haas, Elizabeth Bell, Laura Sells (Chapter 1)

The first chapter of this book, written by Jack Zipes, discusses Disney's role in animating fairy tales and essentially making an industry out of it. Disney drew much of his inspiration for his films from various fairy tales, and in some cases as the book asserts, imposed new meaning to these tales. The chapter explores the history of fairy tales as means of passing morals, essentially having an indoctrination function. Literacy changed the audience and served a class-separation role, among other roles, all the way through the late nineteenth century. Zipes suggests Disney continued the tradition of putting fairy tales into "book" form through its animation department. Given his early success and the development of the animated film industry, Disney was able to implement and perfect other forms of technology to become a leader in animation.

While little credit is attached to where Disney got his inspiration from, the chapter is relevant to the thesis. It outlines some of the similarities, potentially directly drawn from German Expressionism in Disney's work. It was the revolutionary technology that put Disney's work above the rest. A couple of these techniques, which may have been borrowed from European animators on one of Disney's many trips, were experimented on by Reiniger, one being the multiplane camera. The use of this camera to create depth out of two-dimensional images is noted in several of Disney's early works. Reiniger used an early form of the camera to create an illusion of depth in her silhouette images, too. Furthermore, Reiniger's inspiration for using the Arabian Nights' tale was derived from the familiarity the audience would have with these tales and the artistic match between the Expressionist film and the fantastic tale.

Bell, Elizabeth. "From Mouse to Mermaid." Indiana University Press, 1995. (Chapter 1 by Jack Zipes).

Technological Determinism and the Poisoned Apple: The Case of Snow White and the Seven Dwarfs / Sean Chadwell

The article exclusively discusses the technological aspects of animation, particularly in Disney. Chadwell argues that technology drives illusion, which is the "foundation of animation." Disney was interested in the technological aspects of animation; the entire team that worked on a film was essentially an assembly line, with each member contributing their little part to the whole. In the end it is the complete product that viewers are interested in; therefore, the credit too went to the company or a major figurehead rather than the individual animators. Furthermore, he points out that the multiplane camera's primary role was to create the illusion of depth to make the film more realistic. Essentially, Disney's investment in Snow White was predicated on the use of new technology, which eventually led to the success of this film and future ones, as well.

The article is relevant to the thesis, albeit in a limited fashion, because it deals with Disney's use of the multiplane camera in the making of his first feature film. Reiniger established a similar technique a decade earlier. By lighting a background image less, the main action and characters are brought to the forefront while detail of the backdrop still remains, thus creating an illusion of depth. Obviously Snow White was a technologically superior film given the decade to perfect this piece of technology, yet Reiniger's influence on Disney is once again apparent. The misshapen evil characters of many Disney films are also influenced by Reiniger's jagged, stylized demons and sorcerers. All together, Reiniger's influence was derived not only from her work on Prince Achmed, but the experimental nature and abundance of her work.

Chadwell, Sean. "Technological Determinism and the Poisoned Apple: The Case of Snow White and the Seven Dwarfs." Reconstruction 8.2, 2008.

EBSCOhost: Films

http://proxy.library.upenn.edu:2055/ehost/detail?vid=3&hid=113&sid=8bd0ab1a-27c9-4ba4-9013-563719a28235%40sessionmgr108&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=aph&AN=13485062

EBSCOhost

Hoellering, Franz
Source:: Nation; 11/23/1940, Vol. 151 Issue 21, p513-514, 2p

Abstract: "Fantasia," the newest Walt Disney production, is a promising monstrosity and an experiment containing many lessons. There is enough in it to make up for the shocks one suffers. And to be shocked in these times of blood and tears by the handling of a problem of art is in itself an experience of temporary relief. The essentially new and essentially problematic in "Fantasia" is the use of great music as accompaniment for Walt Disney cartoons. To be sure that viewers are told that it is the other way around and no doubt the intent was the opposite one.

Walt's Masterworks: Fantasia

"Walt's Masterworks: Fantasia" The Walt Disney Family Museum (Nov. 30, 2008) Retrieved from http://disney.go.com/disneyatoz/familymuseum/collection/masterworks/fantasia/index.html

This article taken from the Walt Disney Museum website gives an overview of the production of the film Fantasia. The film actually started as a relatively smaller scale work, just another of Disney's ongoing "silly symphony" series. As production progressed, Walt and the animators realized that they had too many ideas for just a minor film, and it was decided to create a film based entirely around music, one that could showcase all of the animators brilliant and creative ideas. Disney himself had high ambitions for the film, he toyed with pumping smells into theaters to make the film a complete sensory experience, but instead opted to invest in "Fantasound." Fantasound was an expensive and elaborate new sound system, and Disney felt that it would help to put the music at the forefront of the audience's attention and truly definite it as the revolutionary piece he intended. Though RKO forced disney to cut the piece down to 81 minutes from his original 125, the core elements of the film remained intact and the pioneering work was produced.

Fantasia recieved mixed critical reaction. It was a dramatic turn from Disney's traditional style and many felt the disparity between highbrow classical music and the mass-appeal of animation to be too jarring to be enjoyed. Though Disney's intent to illustrate the imagination as it listens to music may have been initially missed, the films legacy has proven that it was in fact the revolutionary piece he intended it to be.

This is an excellent starting place for my project. Coming from the company itself, the article gives an account of the production of the film, Disney's intent, and the legacy of the film. If one is to answer "Why was Disney's Fantasia so significant?", all aspects of the film must be examined; its production, its initial reception, and its legacy are all crucial factors.

1963 Fantasia Rerelease Review

Crowther, Bosley "Fantasia Revisited" New York Times (1857-Current file); Nov 17, 1963; ProQuest Historical Newspapers The New York Times (1851 - 2005)
pg. X1

This is a review of the rerelease of Fantasia in 1963 from Bosley Crowther, published in the New York Times. Crowther claims that the piece is no less powerful or entertaining, and will probably be more easily appreciated by audiences today. He cites numerous examples for why Fantasia did not have the appreciation of the masses that it deserved at its initial release, including the war in europe and the drastic change in Disney animation style that Fantasia represented. As well, Crowther draws a connection to the aging theaters on broadway that are showing the film in its rerelease, Fantasia represents the pinnacle of animation freedom. It is abstract and coupled with music that attempts to draw pure imagination onto the screen. The Tower East was being condemned, and Crowther saw this lack of appreciation for "art for art's sake" as reminiscent of the films original reception.

This article provides insight into both the original reception, but also the reception at its first rerelease, before the days of home video. It is a critical evaluation of the film as an work of art and as a commercial product. The article sheds light on the changes in Disney and animation in general that were heralded by the collaboration of composers, musicians, and the freedom given to the animators in the creation of the film.

Twenty-three years after its initial release, Fantasia was deemed significant enough to merit a highly publicized rerelease. Crowther is not at all oblivious to the significance of the film, he frequently mentions that it was a signal of a transition at Disney, and that the entire animation industry followed suit. Music in animation became more than just filler for gaps in sound effects and dialogue, Fantasia brought about the revolutionary concept of regarding music in animation as on par in importance to the animation itself.

Adamick, Paula. "A Real Mickey Mouse Watch." The Scotsman. 11 December, 2001. 10.

This newspaper article commends Disney for not continuing in the direction of Steamboat Willie, but instead “fleshing out” individual characters., giving them “soul” and “color.” The author cites Three Little Pigs as a major turning point for Disney, especially in that it was the first Disney film to have a real plot. The relation of each pig to his house and its construction differentiates and enriches each character. The article includes a quote from Chuck Jones on the subject of Three Little Pigs which comments on character differentiation, saying that in the past, different characters looked different, but in this film, similar-looking characters were differentiated using elements other than visuals alone. The quote also clearly states Jones’ belief that Three Little Pigs was a turning point.

The article mentions music, color, and style as contributing to the success of the film, and states that these factors and the short’s popularity led Disney to another plane. His animated work was, as a direct result of this film, treated seriously, as art, and this can possibly be seen as the beginning of the “Disney empire.” The production of subsequent films, shorts and features, served to codify the Disney style, epitomized by the first Disney feature, Snow White and the Seven Dwarfs.

This article provides a primary source: animator Chuck Jones states that Three Little Pigs was a turning point. Also helpful is the discussion of why the short was so important, with a focus on characterization and plot. An interesting view expressed here but not elsewhere is that not only did Three Little Pigs serve as an internal bridge from experimental to feature-length fairy tale, but it also launched Disney’s fame externally in the eyes of critics and film journals, and in this way contributed to Disney’s future dominance.

Disney Cartoons using Propaganda during WWII

Thesis: How did Walt Disney