You.Tube.Snow.White.And.The.Seven.Dwarfs.Main.Title.Music Up! Where They Belong – Disney, Pixar, and the New Golden Age of Animation

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Up! Where They Belong – Disney, Pixar, and the New Golden Age of Animation

The nomination of Disney/Pixar’s UP in the Best Picture category of the 2010 Academy Awards returns Disney to its rightful place as the undisputed king of animated films, the throne it has occupied for most of the past 100 years. Putting aside the arguments about what an animated film is (some claim this is the nickname for Up’s co-nominated avatar), this is only the second time an animated feature has been nominated for the award (the first was another Disney film – Beauty and the Beast, from 1991, which somewhat ironically lost to (The Silence of the Lambs, which, arguably, resembles Beauty and the Beast in more ways than one.)

Although popular opinion has Avatar as the front-runner for Best Picture, Up’s very nomination is a testament to Disney’s 2006 acquisition of the company and a testament to the courage and commitment of Pixar Chairman and CEO Steve Jobs and creative genius John. Lassetter, currently the chief creative officer of Pixar, and also of Disney’s animation studios.

Disney’s wisdom in not only recognizing the financial value of Pixar, but also the artistic value of its creative team, brings the company back almost full circle to the early days of animation, when founder Walt Disney quickly realized that he could not achieve his creative and business ambitions alone, and began employing the The best artists and writers available.

His first major collaboration was with friend and former co-worker Ub Iwerks, with whom Disney worked at the Pasman-Robin commercial art studio in Kansas City. Although Iwerks was not the only animator Disney worked with, he was the most influential on the early films, most notably in developing the now iconic Mickey Mouse from the earlier Disney character Oswald the Lucky Rabbit, the rights to which he lost. contractual dispute. With Iwerks’ new character, Disney took the risky step of investing in the new film technology of sound, introduced the previous year in The Jazz Singer.

Although 1928’s Steamboat Willie, starring Mickey Mouse in his third appearance, is often cited as the first synchronized sound cartoon, it was actually preceded in 1926 by Max and Dave Fleischer’s My Old Kentucky Home, and in 1928 by Dinner Time, created by Paul Terry, later the founder of Tritones. None of these previous ones did well at the box office, but Steamboat Willie was a hit. With it, Disney moved into the big time, entering a hugely productive phase where several Mickey Mouse cartoons were released each year (including his first two – Plane Crazy, and The Gallopin’ Gaucho – remade with sound), along with a number of other titles including Walking Stable and the growth of popular figures.

Disney combined technical superiority with artistic excellence and business acumen, and this combination of qualities earned him and his company a place at the forefront of the animation industry, a position he cemented four years later when he signed Technicolor to a two-year contract for his exclusive contract. Using their new color rendering technique for cartoons.

By the late 1930s, Walt Disney was ambitious to develop animation even further. He took the risky but ultimately profitable leap into animated films with the hugely popular and successful Snow White and the Seven Dwarfs in 1938, a film that began several decades of box office dominance for Disney, with such iconic films as Bambi (1942), A Song of the South (1946), and Cinderella (1950) that join modern classics such as The Little Mermaid from 1989, and Beauty and the Beast (1991), in the pantheon of great films – animated and others.

It’s no surprise then that Disney recognized the potential of the ground-breaking new medium of computer animation when Pixar made its first feature film Toy Story in 1995. Disney and Pixar entered into a distribution partnership for Toy Story and Pixar’s subsequent output, which, although Not without contractual disputes and occasional personal conflicts, eventually led to the purchase of the majority stake in Pixar by Disney. True to the history of these two leaders in motion picture animation, the quality of Pixar’s work has steadily improved, and with the appointment of John Lassiter (also a one-time Disney animator) as creative director of both companies, there is no reason to doubt that this will continue. It may only be a matter of time before a Disney/Pixar film receives the recognition and respect that this often underappreciated art form has deserved since the early days of animation.

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