Headline, December 31 2020/ '' '' MICKEY MASTER MOUSE '' ''' : ART !WOW!


MOUSE '' ''' : ART !WOW!

! WILD MINDS ! : EHHH - OOHH, WHAT'S ANIMATION DOC? WELL, LITTLE ANGELS :  Mynah, Maria, Hanyia, Merium, Eden, Ibrahim, Susan, July, Haram, Azaan, Mustafa, Mujtaba, Jennifer, Maneka, Chopra, Toby, and darling Sophia?

Like the movie business in general, the field of animation contained few barriers to entry, and a number of Jewish immigrants shut out from other careers found that they could make a decent living working for a studio or opening up their own. Even Disney, who grew up in the Midwest, was an outsider without any connections.

By the time Walt Disney's ''Fantasia'' premiered at Manhattan's Broadway Theater of Nov 13, 1940, what had started out as an animated short to revive Mickey Mouse's flagging career had become feature length extravaganza.

Images in the movie channeled evolutionary theory and abstract art, depicting roaring dinosaurs vibrating shapes and dancing brooms. Everything was set to classical music and blasted over the new Fantasound system, whose volume could apparently reach 165 decibels - enough.

The New Yorker reported at the time, to ''kill many elderly members of the audience, knock the others cold and deafen the survivors for life.'' The magazine continued : ''Don't worry about it, though. You're safe with Walt Disney.''

The combination perfectly encapsulated what Disney Studios was becoming : a determined wielder of awesome power, leavened by Disney's assistance assurances that he was a really nice guy.

[This happened to mirror the self-image of the country at large, which assiduously coupled its impending dominance on the world stage with repeated avowals of benign attentions,]

According to ''Wild Minds,'' Reid Mitenbuler's lively history of the first half-century of animation, ''Fantasia'' marked a turning point in American culture, an attempt to reconcile the refinement of artistic ambition with the demands of mass consumption.

To work on the project, Disney had tapped the conductor Leopold Stokowski, who was so profoundly pretentious that the studio's cartoonist wanted to call the the movie ''Highbrowski by Stokowski.''

The story of Disney studios is a central strand in Mitenbuler's narrative; Disney became the formidable force that the other animation stidios would look toward, compete with and rail against.

Max Flescher, whose studio was responsible for the likes of Popeeye and Betty Poop, groused that Disney's ''Snow White,'' released in 1937, was ''too arty.'' [It was also maybe too scary... .Dr Spock would later say that Radio City Music Hall had to reupholster the seats after screen ''Snow White'' because the terrified children had wet them].

The wife of one of the Fleischer brothers, though, said they had better watch out : ''Disney is doing art, and you guys are still shaping characters on the butt with sticks!''

But what if those slapped butts were part of what had made animation so revolutionary in the first place? Mitenbuler suggests as much, beginning ''WILD MINDS'' with the early days animation, in the first decade of the 20th century, when the technology of moving pictures was still in its infancy.

In the decades that followed ''Fantasia,'' while Disney's studios continued to make animated films, Walt Disney himself started turning his attention towards ideas he had for an amusement park in Anaheim, Caif, that would open in 1955.

He insisted his films weren't intended for children, making a point of teasing adult audiences for previews.

Still, Disney couldn't shield the animation industry as a whole from the inexorable forces of television, where the real money to be made was in catering to kids. The madcap ramp of ''Wild Minds'' ends with Disney's death in 1966, which McCay's dire prognostication about selling breakfast cereal to the ''nation's youngsters'' had finally come to pass.

''That same year'', Mitenbaur writes, ''all three of the major television networks fully converted their Saturday morning programming to cartoons.

The Honor and Serving of the Latest Global Research on Cinema, TV, Art, Animation and its History, continues. The World Students Society thanks author Jennifer Szallai.

With respectful dedications to the Students, Professors and Teachers of the World. See Ya all prepare and register for Great Global Elections on The World Students Society : wssciw.blogspot.com and Twitter -!E-WOW! - The Ecosystem 2011 :

''' Ehh - Ooh '''

Good Night and God Bless

SAM Daily Times - the Voice of the Voiceless


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