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.

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

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