Download Animators of Film and Television: Nineteen Artists, Writers, by Noell K. Wolfgram Evans PDF

By Noell K. Wolfgram Evans

Within the phrases of Walt Disney, "Animation can clarify regardless of the brain of guy can conceive." half biography, half background, half inventive remark, this quantity seems to be at numerous significant figures within the box of animation and discusses how their contributions to the paintings of animation have affected the process the industry--and in lots of instances, had a right away influence on pop culture as a complete. those talented artists are divided into numerous classifications: Idealists (Art Babbitt, John Hubley); Mavericks (John Kricfalusi, Terry Gilliam); Technicians (the Fleischer Brothers); affects (Frank Tashlin, Matt Groening, Ray Harryhausen, Ed Benedict); Trailblazers (Lotte Rieniger, Lillian Friedman); Teller of stories (Henry Selick); lecturers (George Newall, Tom Yohe, the FMPU); and Storytellers (Joe provide, invoice Scott, Michael Maltese). each one animator is represented via a listing of his or her key motion pictures and awards.

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On the other hand you’ll be hard pressed to find someone who at some point in their life hasn’t picked up an inanimate object, like a picture, and acted as if it were talking to you or made it a “live” part of some “funny” skit. Gilliam has taken this basic party practice and pushed it down the line in artistic and unexpected ways. His contributions to the success of Monty Python cannot be stated enough. ”14 And Python was completely unlike anything that had been seen before. ”15 While Gilliam says that he was never consciously a part of the 1960s underground movement, subconsciously he must have felt its grasp because traces of that scene can be found flowing through his work, not so much in style as in tone and message.

This was not just for an ease of process but for a unification of ideas, temperament, and overarching characterization. As with everything new and slightly different, certain groups pressured the network to drop the show, and after some intense lobbying, they did just that. When Mighty Mouse was not renewed, Kricfalusi got the opportunity to fulfill a fan’s ultimate dream and work with some of his favorite characters. 32 THE MAVERICKS This was the continuation of a trend for Kricfalusi, who has a spectacular reverence for the series and characters of the past.

The gap between the output of Walt’s artists and every other studio was so great at times it was almost unfair. ) And yet, while this may have been the public perception, other studios didn’t, or more accurately couldn’t, buy wholeheartedly into this same school of thought because in doing so they would, in a roundabout way, invalidate the existence and need for their own work. This pervasive thinking propelled artists elsewhere to work harder both out of a desire to elevate their own artistic output and as a way to show that there was “another way” in place of the Disney school.

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