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.

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

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

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

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

This 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.

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.

Bacchilega examines the similarities and differences in three different written versions of “Snow White”: Barthelme’s Snow White, Carter’s “The Snow Child,” and Coover’s “The Dead Queen.” It is not unusual to change and embellish upon a traditional story; people have been doing it for centuries. However, fairy tales maintain their key characteristics. In the case of “Snow White,” those include flat characterization, supernatural setting, and isolation of characters in a strange, exaggerated world.

“Snow White” dramatizes the association of the good angel-like character with the evil devil-like one. This interaction is monitored and incited by a male voice: the mirror. This man in the mirror defines the identity of both the main characters as well as their relationship. The protagonist is “the fairest of all” and the antagonist is the former bearer of that title, and their interactions are marked by rivalry and jealousy.

Most folklorists interpret the story as a female initiation tale, symbolizing the process of sexual, psychological, and social maturation in women in general. Snow White’s story shows the necessity of culture in the transformation of self, but also illustrates the boundaries beyond which she cannot venture. Snow White is stifled by her obligate domesticity. The men’s influence in Snow White’s life is clear. The huntsman, dwarfs, and prince all aid in her socialization. This implies that her initiation will only be complete once the white and red parts of her life – semen and menstrual blood, representing male and female opposites – unite through her black ritual “death.” In this way, the thematic colors of the story (skin as white as snow, lips as red as blood, hair as black as ebony) apply to Snow White’s personal growth.

The three versions of “Snow White” analyzed here differ in point of view, adherence to the original storyline, and even primary message. Disney’s Snow White is more similar in all three points to the Grimm version of the tale.