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 .

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 .

 

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.

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.