This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com Walt Disney's Snow White and the Seven Dwarfs (David Hand, 1937) occupies a central place within the history of global animation. Based on the German fairy tale by the Brothers Grimm, the film was the first feature-length animated film produced by the Disney Studio and served to announce the animated cartoon as an industrial art form. Yet Disney's landmark version not only set in motion the Golden Age of the Hollywood cartoon, but has continued to stand as an international sensation, prompting multiple revisions and remakes within a variety of national filmmaking contexts. This book explores the enduring qualities that have marked Snow White's influence and legacy, providing a collection of original chapters that reflect upon its pioneering use of technology and contributions to animation's visual style, the film's reception within an American context, and its status as a global cultural phenomenon.

This study provides the first book-length critical history of storyboarding, from the birth of cinema to the present day and beyond. It discusses the role of storyboarding in key films including Gone with the Wind , Psycho and The Empire Strikes Back , and is illustrated with a wide range of images.

This is an innovative critical history of Disney feature animation that uproots common misconceptions and brings fresh scholarly definition to a busy field. "Demystifying Disney: A History of Disney Feature Animation" provides a comprehensive and thoroughly up-to-date examination of the Disney studio's evolution through its animated films. In addition to challenging certain misconceptions concerning the studio's development, the study also brings scholarly definition to hitherto neglected aspects of contemporary Disney. Through a combination of economic, cultural, historical, textual, and technological approaches, this book provides a discriminating analysis of Disney authorship, and the authorial claims of others working within the studio; conceptual and theoretical engagement with the constructions of 'Classic' Disney, the Disney Renaissance, and Neo-Disney; Disney's relationship with other studios; how certain Disney animations problematise a homogeneous reading of the studio's output; and how the studio's animation has changed as a consequence of new digital technologies. For all those interested in gaining a better understanding of one of cinema's most popular and innovative studios, this will be an invaluable addition to the existing literature.

This study provides the first book-length critical history of storyboarding, from the birth of cinema to the present day and beyond. It discusses the role of storyboarding in key films including Gone with the Wind , Psycho and The Empire Strikes Back , and is illustrated with a wide range of images.

Winner of the 2017 McLaren-Lambart Award for Best Book on the Subject of Animation Studying landscape in cinema isn't quite new; it'd be hard to imagine Woody Allen without New York, or the French New Wave without Paris. But the focus on live-action cinema leaves a significant gap in studying animated films. With the almost total pervasiveness of animation today, this collection provides the reader with a greater sense of how the animated landscapes of the present relate to those of the past. Including essays from international perspectives, Animated Landscapes introduces an idea that has seemed, literally, to be in the background of animation studies. The collection provides a timely counterpoint to the dominance of character (be that either animated characters such as Mickey Mouse or real world personalities such as Walt Disney) that exists within animation scholarship (and film studies more generally). Chapters address a wide range of topics including history, case studies in national contexts (including Australia, Japan, China and Latvia), the traversal of animated landscape, the animation of fantastical landscapes, and the animation of interactive landscapes. Animated Landscapes promises to be an invaluable addition to the existing literature, for the most overlooked aspect of animation.

Ivor the Engine, Noggin the Nog, Pingwings, Pogles Wood, The Clangers, and Bagpuss - the iconic animations produced by the Canterbury-based Smallfilms studio between 1958 and 1984 - constitute a significant thread of British cultural history. The lasting appeal of the imagined worlds created by Smallfilms is evident in the highly-successful BBC reboot of Clangers (2015-present), which has introduced a whole new audience to the pink moon mice. As well as the shows likely to be famiilar to readers, this history expands the Smallfilms story to include those less well-known animated shows that nonetheless played an important part in the studio's history. Through extensive studio access, interviews with many key Smallfilms collaborators, press and audience analysis, Chris Pallant provides a comprehensive and definitive historical record of the studio's work. Beyond Bagpuss is illustrated with 100 images from the Smallfilms archive, including those that have not previously been published.

Ivor the Engine, Noggin the Nog, Pingwings, Pogles Wood, Clangers, and Bagpuss - the iconic animations produced by the Canterbury-based Smallfilms studio between 1958 and 1984 - constitute a significant thread of British cultural history. The lasting appeal of the imagined worlds created by Smallfilms is evident in the highly-successful BBC reboot of Clangers (2015-present), which has introduced a whole new audience to the pink moon mice. As well as the shows likely to be famiilar to readers, this history expands the Smallfilms story to include those less well-known animated shows that nonetheless played an important part in the studio's history. Through extensive studio access, interviews with many key Smallfilms collaborators, press and audience analysis, Chris Pallant provides a comprehensive and definitive historical record of the studio's work. Beyond Bagpuss is illustrated with 100 images from the Smallfilms archive, including those that have not previously been published.

100 historical and contemporary texts give a detailed insight into the last 150 years of animation studies in this seminal, four-volume reference work on the field. Beginning with the many definitions, or lack thereof, of animation, the set delves into the nature of animation production, explores how we can establish greater space within animation discourse for the consideration of broadcast and interactive animation, and gives a greater contextual understanding of the field of animation studies. Key themes are 'Authorship', 'Genre', 'Identity Politics', and 'Spectatorship', and the set is ordered in such a way that avoids imposing an overly simplistic chronological framework, thereby allowing debates that have developed over years (and even decades) to stand side by side. Each volume is separately introduced and the essays structured into coherent sections on specific themes

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com Walt Disney's Snow White and the Seven Dwarfs (David Hand, 1937) occupies a central place within the history of global animation. Based on the German fairy tale by the Brothers Grimm, the film was the first feature-length animated film produced by the Disney Studio and served to announce the animated cartoon as an industrial art form. Yet Disney's landmark version not only set in motion the Golden Age of the Hollywood cartoon, but has continued to stand as an international sensation, prompting multiple revisions and remakes within a variety of national filmmaking contexts. This book explores the enduring qualities that have marked Snow White's influence and legacy, providing a collection of original chapters that reflect upon its pioneering use of technology and contributions to animation's visual style, the film's reception within an American context, and its status as a global cultural phenomenon.

Winner of the 2017 McLaren-Lambart Award for Best Book on the Subject of Animation Studying landscape in cinema isn't quite new; it'd be hard to imagine Woody Allen without New York, or the French New Wave without Paris. But the focus on live-action cinema leaves a significant gap in studying animated films. With the almost total pervasiveness of animation today, this collection provides the reader with a greater sense of how the animated landscapes of the present relate to those of the past. Including essays from international perspectives, Animated Landscapes introduces an idea that has seemed, literally, to be in the background of animation studies. The collection provides a timely counterpoint to the dominance of character (be that either animated characters such as Mickey Mouse or real world personalities such as Walt Disney) that exists within animation scholarship (and film studies more generally). Chapters address a wide range of topics including history, case studies in national contexts (including Australia, Japan, China and Latvia), the traversal of animated landscape, the animation of fantastical landscapes, and the animation of interactive landscapes. Animated Landscapes promises to be an invaluable addition to the existing literature, for the most overlooked aspect of animation.

"Demystifying Disney: A History of Disney Feature Animation "provides a comprehensive and thoroughly up-to-date examination of the Disney studio's evolution through its animated films. In addition to challenging certain misconceptions concerning the studio's development, the study also brings scholarly definition to hitherto neglected aspects of contemporary Disney. Through a combination of economic, cultural, historical, textual, and technological approaches, this book provides a discriminating analysis of Disney authorship, and the authorial claims of others working within the studio; conceptual and theoretical engagement with the constructions of 'Classic' Disney, the Disney Renaissance, and Neo-Disney; Disney's relationship with other studios; how certain Disney animations problematise a homogeneous reading of the studio's output; and how the studio's animation has changed as a consequence of new digital technologies. For all those interested in gaining a better understanding of one of cinema's most popular and innovative studios, this will be an invaluable addition to the existing literature.