1.
Ware, Massachusetts
–
Ware is a town in Hampshire County, Massachusetts, United States. The population was 9,872 at the 2010 census and it is part of the Springfield, Massachusetts Metropolitan Statistical Area. Part of the town comprises the census-designated place of Ware, Ware was first settled on Equivalent Lands in 1717 and was officially incorporated in 1775. It is named after the English town of Ware, Hertfordshire, in 1716 a tract of land which was a little more than 11,000 acres in size was granted to John Read. He named it The Manour Of Peace and had it in mind to develop it in the style of an English manor anticipating that it would become a very valuable country estate. He leased out the land and did not sell 1-acre until after his death when he gave a gift of 200 acres to serve as a ministry lot. As time passed, the town of Ware grew up around the old Congregational meeting house and later became a center of local manufacturing. The actual origin of the name, Ware, is thought to be derived from a translation of the Native American word Nenameseck, the weirs were used to capture salmon that were once abundant in New England waterways. In 1729, the first grist and saw mills were built on the banks of the Weir River by Jabez Olmstead, during the American Revolution there were at least eight taverns and several inns in the area. Two of the most famous were Ebenezer Nye’s tavern and John Downing’s, after town meetings were held they would often adjourn to the latter establishment. By the 1830s it was not uncommon to see textile mills dotted along the local rivers. At this point Ware community was making the transition from an economy to an industrially based society. The post Civil War era brought a new prosperity to the now established textile mill town, Ware factory village, as it was known, sprung up overnight and formed the basis for new growth and development. For nearly 100 years the Otis company had been the largest single Ware employer, cotton had been the primary product and by 1937, denims, awnings and tickings were the principal output. It had been very prosperous until World War I when its employees numbered close to 2,500, by the 1920s however, the company began to decline due to southern competition and lack of modern machinery. By the mid thirties, the Directors decided to liquidate although no announcement was made. Instantly, the townspeople rallied to the cause, a public mass meeting was called that evening and plans to raise the necessary cash in order to forestall what appeared to be the imminent ruin of the town were formulated. The citizens of Ware were able to purchase the mills together with the backing of the Ware Trust Company, the mills became Ware Industries Inc. and Ware came to be known nationwide as The Town That Can’t Be Licked
2.
Animator
–
An animator is an artist who creates multiple images, known as frames, which give an illusion of movement called animation when displayed in rapid sequence. Animators can work in a variety of fields including film, television, Animation is closely related to filmmaking and like filmmaking is extremely labor-intensive, which means that most significant works require the collaboration of several animators. The methods of creating the images or frames for an animation piece depends on the artistic styles. Other artists who contribute to animated cartoons, but who are not animators, include layout artists, storyboard artists, in hand-drawn Japanese animation productions, such as in Hayao Miyazakis films, the key animator handles both layout and key animation. Some animators in Japan such as Mitsuo Iso take full responsibility for their scenes, one important distinction is between character animators and special effects animators. Usually, a young artist seeking to break into animation is hired for the first time in one of these categories, historically, the creation of animation was a long and arduous process. Each frame of a scene was hand-drawn, then transposed onto celluloid. These finished cels were placed together in sequence over painted backgrounds and filmed. Animation methods have become far more varied in recent years, todays cartoons could be created using any number of interesting methods, mostly using computers to make the animation process cheaper and faster. These more efficient animation procedures have made the job less tedious. Audiences generally find animation to be more interesting with sound. Voice actors and musicians, among other talent, may contribute vocal or music tracks, some early animated films asked the vocal and music talent to synchronize their recordings to already-extant animation. Nowadays, visual development artists will design a character as a 2D drawing or painting, texture artists paint the character with colorful or complex textures, and technical directors set up rigging so that the character can be easily moved and posed. For each scene, layout artists set up cameras and rough blocking. Despite those constraints, the animator is still capable of exercising significant artistic skill, more recently, Chris Buck has remarked that animators have become actors with mice. Some studios bring in acting coaches on feature films to help work through such issues. Each finished film clip is then checked for quality and rushed to a film editor, Animation Computer animation Computer graphics Key frame Sweat box Animation Toolworks Glossary, Who Does What In Animation How An Animated Cartoon Is Made
3.
Fleischer Studios
–
Fleischer Studios, Inc. was an American corporation which originated as an animation studio located at 1600 Broadway, New York City, New York. In its prime, The Fleischer Studio was a producer of animated cartoons for theaters. Fleischer Studios is notable for Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, unlike other studios, whose characters were anthropomorphic animals, the Fleischers most successful characters were humans. The cartoons of the Fleischer Studio were very different from the Disney product, as a result, the Fleischer cartoons were rough rather than refined, commercial rather than consciously artistic. But in their way, their artistry was expressed through a culmination of the arts. The approach was sophisticated, focused on surrealism, dark humor, adult psychological elements, and the environments were grittier and urban, often set in squalid surroundings—a reflection of the Depression as well as German Expressionism. Kim Deitch, Robert Crumb, Jim Woodring, and Al Columbia are among the creators who have acknowledged their inspiration. And much of Richard Elfmans 1980 cult film Forbidden Zone is an action pastiche of the early Fleischer Studios style. The Fleischer style was used in the 1995 animated series The Twisted Tales of Felix the Cat. The Fleischer Studio was built on Max Fleischers novelty film series, the novelty was based largely on the results of the Rotoscope, invented by Fleischer to produce realistic animation. The first Out of the Inkwell films were produced through The Bray Studio, and featured Fleischers first character, The Clown, in 1921, The Bray Studio ran afoul with legal issues, having contracted for more films than it could deliver to its distributor, The Goldwyn Company. The Fleischer Brothers left and began their own studio with Dave as Director and Production Supervisor, in 1924, Veteran Animator, Dick Huemer came to The Inkwell Studio and redesigned The Clown for more efficient animation. Huemers new design and experience as an Animator moved them away from their dependency on The Rotoscope for fluid animation, in addition to defining the clown, Huemer established the Fleischer style with its distinctive thick and thin ink lines. In addition, Huemer created Ko-Kos companion, Fitz the Dog, other innovations included Ko-Ko Song Car-Tunes and sing-along shorts, a precursor to Karaoke. In 1924, Distributor, Edwin Miles Fadiman, and Hugo Riesenfeld formed the Red Seal Pictures Corporation, Riesenfeld was the Theatrical Manager of the Strand, Rivoli, and Rialto theaters on Broadway. Because the Out of the Inkwell films were a part of the program in Riesenfeld’s theaters. The Red Seal Company committed to a release schedule of 26 films with The Inkwell Studio as the primary supplier. The following year, Red Seal released 141 films that included documentaries, short comedy subjects, carrie of the Chorus, also known as Backstage Comedies, was one of the Red Seal series that featured Max’s daughter, Ruth in a supporting role
4.
Ub Iwerks
–
Ubbe Eert Ub Iwerks, A. S. C. was an American animator, cartoonist, character designer, inventor, and special effects technician, who created Oswald the Lucky Rabbit and Mickey Mouse with Walt Disney. The works Iwerks produced alongside Disney went on to win numerous awards and he was born in Kansas City, Missouri. His father, Eert Ubbe Iwerks, immigrated to the U. S. in 1869 from the village of Uttum in East Frisia, Ubs full name can be seen on early Alice shorts that he signed. Several years later he simplified his name to Ub Iwerks, sometimes written as U. B and he is the father of Disney Legend Don Iwerks and grandfather to documentary film producer Leslie Iwerks. Iwerks was considered by many to be Walt Disneys oldest friend, the two met in 1919 while working for the Pesmen-Rubin Art Studio in Kansas City, and would eventually start their own commercial art business together. Disney and Iwerks then found work as illustrators for the Kansas City Slide Newspaper Company, while working for the Kansas City Film Ad Company, Disney decided to take up work in animation, and Iwerks soon joined him. He was responsible for the style of the earliest Disney animated cartoons. In 1922, when Disney began his Laugh-O-Gram cartoon series, Iwerks joined him as chief animator, after the end of this series, Disney asked Iwerks to come up with a new character. The first Oswald the Lucky Rabbit was animated entirely by Iwerks, following the first cartoon, Oswald was redesigned on the insistence of Universal, who agreed to distribute the new series of cartoons in 1927. In spring 1928, Disney lost control of the Oswald character and he promised never to work with a character he did not own ever again. Disney asked Iwerks, who stayed on, to start drawing up new character ideas, Iwerks tried sketches of frogs, dogs, and cats, but none of these appealed to Disney. A female cow and male horse were created at this time by Iwerks and they would later turn up as Clarabelle Cow and Horace Horsecollar. Ub Iwerks eventually got inspiration from an old drawing, in 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. Then, on a ride back from a failed business meeting. Afterwards, Disney took the sketch to Iwerks, in turn, he drew a more clean cut and refined version of Mickey, but one that still followed the original sketch. The first few Mickey Mouse and Silly Symphonies cartoons were animated almost entirely by Iwerks, including Steamboat Willie, the Iwerks Studio opened in 1930. Financial backers led by Pat Powers suspected that Iwerks was responsible for much of Disneys early success, however, while animation for a time suffered at Disney from Iwerks departure, it soon rebounded as Disney brought in talented new young animators. The Flip and Willie cartoons were distributed on the home-movie market by Official Films in the 1940s
5.
The Walt Disney Company
–
The Walt Disney Company, commonly known as Disney, is an American diversified multinational mass media and entertainment conglomerate, headquartered at the Walt Disney Studios in Burbank, California. It is the second largest media conglomerate in terms of revenue. Disney was founded on October 16,1923 – by brothers Walt Disney, the company also operated under the names The Walt Disney Studio and then Walt Disney Productions. Taking on its current name in 1986, it expanded its operations and also started divisions focused upon theater, radio, music, publishing. In addition, Disney has since created corporate divisions in order to more mature content than is typically associated with its flagship family-oriented brands. The company is best known for the products of its studio, Walt Disney Studios. Disneys other three divisions are Walt Disney Parks and Resorts, Disney Media Networks, and Disney Consumer Products. The company has been a component of the Dow Jones Industrial Average since May 6,1991, Mickey Mouse, an early and well-known cartoon creation of the company, is a primary symbol and mascot for Disney. In early 1923, Kansas City, Missouri, animator Walt Disney created a film entitled Alices Wonderland. After the bankruptcy in 1923 of his previous firm, Laugh-O-Gram Studios, Disney moved to Hollywood to join his brother, Walt and Roy Disney formed Disney Brothers Cartoon Studio that same year. More animated films followed after Alice, in January 1926, with the completion of the Disney studio on Hyperion Street, the Disney Brothers Studios name was changed to the Walt Disney Studio. The distributor owned Oswald, so Disney only made a few hundred dollars, Disney completed 26 Oswald shorts before losing the contract in February 1928, due to a legal loophole, when Winklers husband Charles Mintz took over their distribution company. After failing to take over the Disney Studio, Mintz hired away four of Disneys primary animators to start his own animation studio, Snappy Comedies. In 1928, to recover from the loss of Oswald the Lucky Rabbit, Disney came up with the idea of a character named Mortimer while on a train headed to California. The mouse was later renamed Mickey Mouse and starred in several Disney produced films, ub Iwerks refined Disneys initial design of Mickey Mouse. Disneys first sound film Steamboat Willie, a cartoon starring Mickey, was released on November 18,1928 through Pat Powers distribution company and it was the first Mickey Mouse sound cartoon released, but the third to be created, behind Plane Crazy and The Gallopin Gaucho. Disney used Pat Powers Cinephone system, created by Powers using Lee De Forests Phonofilm system, Steamboat Willie premiered at B. S. Mosss Colony Theater in New York City, now The Broadway Theatre. Disneys Plane Crazy and The Galloping Gaucho were then retrofitted with synchronized sound tracks, Disney continued to produce cartoons with Mickey Mouse and other characters, and began the Silly Symphonies series with Columbia Pictures signing on as Symphonies distributor in August 1929
6.
Walter Lantz
–
Walter Benjamin Lantz was an American cartoonist, animator, film producer, director and actor best known for founding Walter Lantz Productions and creating Woody Woodpecker. Lantz was born in New Rochelle, New York, to Italian immigrant parents, Francesco Paolo Lantz, according to Joe Adamsons biography, The Walter Lantz Story, Lantzs father was given his new surname by an immigration official who anglicized it. Walter Lantz was always interested in art, completing a drawing class at age 12. He was inspired when he saw Winsor McCays animated short, Gertie the Dinosaur, while working as an auto mechanic, Lantz got his first break. Wealthy customer Fred Kafka liked his drawings on the bulletin board. Kafka also helped him land a job as a boy at the New York American. Lantz worked at the newspaper and attended art school at night, by the age of 16, Lantz was working in the animation department under director Gregory La Cava. Lantz then worked at the John R. Bray Studios on the Jerry On The Job series, in 1924, Lantz directed, animated, and even starred in his first cartoon series, Dinky Doodle, and soon replaced George Vernon Stallings as head of production. In the meantime, he worked briefly for director Frank Capra and was a gag writer for Mack Sennett comedies and he also resorted to odd jobs, one of them being the chauffeur for one of Hollywoods most important moguls. In 1928, Lantz was hired by Charles B, Mintz as director on the Oswald the Lucky Rabbit cartoon series for Universal Pictures. Earlier that year, Mintz and his brother-in-law George Winkler had succeeded in snatching Oswald from the characters creator, Universal president Carl Laemmle grew dissatisfied with the Mintz-Winkler product and fired them, deciding instead to produce the Oswalds on the Universal lot. While schmoozing with Laemmle, Lantz wagered that if he could beat Laemmle in a game of poker, as fate would have it, Lantz won the bet, and Oswald was now his character. Nolans previous credentials included inventing the panorama background and developing a new, in September 1929, Lantz released his first cartoon, Race Riot. By 1935, he parted company with Nolan, Lantz became an independent producer, supplying cartoons to Universal instead of merely overseeing the animation department. By 1940, he was negotiating ownership for the characters with whom he had been working, when Oswald had worn out his welcome, Lantz needed a new character. Meany, Miny, and Moe, Baby-Face Mouse, Snuffy Skunk, Doxie, however, one character, Andy Panda, stood out and soon became Lantzs headline star for the 1939–1940 production season. In 1940, Lantz married actress Grace Stafford, during their honeymoon, the couple kept hearing a woodpecker incessantly pecking on their roof. Grace suggested that Walter use the bird for inspiration as a cartoon character, taking her advice, though a bit skeptical, Lantz debuted Woody Woodpecker in an Andy Panda short, Knock Knock
7.
J.R. Bray
–
John Randolph Bray was an American animator. Bray became interested in animation in the years of moving pictures. By 1914, he opened a New York area studio specifically organized to make animated films, as the 1910s progressed Brays studio became a powerhouse in the early animation industry. The studio assembled a staff that included many accomplished animators, and it produced a steady, Bray contributed a series featuring his Colonel Heeza Liar series, which was among the most popular series of animated shorts in that era. Bray produced the first animated film in color, The Debut of Thomas Cat, Bray Productions produced over 500 films between 1913 and 1937, mostly animation films and documentary shorts. Cartoonist Paul Terry worked briefly for Bray Studios in 1916, the entertainment branch of Bray Pictures Corporation closed in 1928. Documentary production for theatrical release continued through the late 1930s, the educational and commercial branch, Brayco, made mostly filmstrips from the 1920s until it closed in 1963. Bray Studios was still in operation in the early 1980s, J. R. Bray died in Bridgeport, CT at the age of 99 in 1978. Jam Handys company, the Jam Handy Organization, began as a Chicago-Detroit division of Bray Studios, Jam Handy made several thousand industrial and sponsored films and tens of thousands of filmstrips, many for the auto industry, closed in 1983. Bray visited Winsor McCay during his production of Gertie the Dinosaur, McCay was very open about the techniques that he developed and showed all the details to Bray. John Randolph Bray later patented many of McCays methods and unsuccessfully tried to sue the other animator, McCay prevailed, however, john Randolph Bray at the Internet Movie Database
8.
Hawaiian Holiday
–
Hawaiian Holiday is a 1937 American animated short film produced by Walt Disney Productions and released by RKO Radio Pictures. The cartoon stars an ensemble cast of Mickey Mouse, Minnie Mouse, Pluto, Donald Duck and it was Disneys first film to be released by RKO, ending a five-year distributing partnership with United Artists. Mickey and his friends are vacationing in Hawaii, Minnie dances in a grass skirt while Mickey plays a slide guitar, Donald plays a ukulele, and Pluto chases the waves. The wave then comes back in and washes Goofy around, eventually leaving his head stuck in the sand, Mickey begins to have a problem with his guitar, while Minnie and Donald trade places. However, when Donald takes his turn with the skirt, he dances too close to the fire and he rapidly goes to a pool to put the blaze out, but in the process, he pulls up a starfish. Donald throws the starfish off his bottom and it lands right in front of Pluto, after Pluto sniffs at it, it begins to rapidly run away. Pluto chases it right up to the waves where he buried in the sand. The starfish hops right over him, hits him on the nose, Goofy tries his luck with the waves again and is actually able to get a swell, but it breaks beneath him and washes his board away. As Goofy searches underwater for his board, another wave comes it and drives his board into his pants, meanwhile, Pluto is sniffing at a seashell. A wave comes in and knocks him off his feet, which leaves the shell stuck to his nose. Pluto tries to shake the shell off, but it stuck on his bottom instead. He tries and tries to get it off, but cant seem to and it is later revealed that there is a crab living in the shell, which clamps onto Plutos tail. Although he can feel something on his tail, Pluto does not fully notice the crab until it pinches him, the crab begins walking in a certain pattern which Pluto follows until they reach the surf, where a wave comes in and buries Pluto. As with the starfish, the crab tortures him by hitting him on the nose before departing, Mickey, Minnie, and Donald laugh at him, and when he pops out unharmed, they continue enjoying their vacation. 1937 – theatrical release 1956 – Disneyland, episode #2.22, On Vacation c.1983 – Good Morning, episode #132010 – YouTube video 2011 – Have a Laugh. Volume 4 Hawaiian Holiday on YouTube Hawaiian Holiday at The Big Cartoon DataBase Hawaiian Holiday at the Internet Movie Database
9.
Snow White and the Seven Dwarfs (1937 film)
–
Snow White and the Seven Dwarfs is a 1937 American animated musical fantasy film produced by Walt Disney Productions and originally released by RKO Radio Pictures. Based on the German fairy tale by the Brothers Grimm, it is the first full-length cel animated feature film and the earliest Disney animated feature film. The story was adapted by storyboard artists Dorothy Ann Blank, Richard Creedon, Merrill De Maris, Otto Englander, Earl Hurd, Dick Rickard, Ted Sears and Webb Smith. David Hand was the director, while William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce. Snow White premiered at the Carthay Circle Theatre on December 21,1937 and it was a critical and commercial success, and with international earnings of $8 million during its initial release briefly assumed the record of highest-grossing sound film at the time. The popularity of the film has led to it being re-released theatrically many times, adjusted for inflation, it is one of the top ten performers at the North American box office. At the 11th Academy Awards, Walt Disney was awarded an honorary Oscar, Disneys take on the fairy tale has had a significant cultural impact, resulting in popular theme park attractions, a video game, and a Broadway musical. Snow White is a princess living with her stepmother, a vain. The Queen fears that Snow Whites beauty surpasses her own, so she forces Snow White to work as a scullery maid, for several years the mirror always answered that the Queen was, pleasing her. One day, the Magic Mirror informs the Queen that Snow White is now the fairest in the land, the jealous Queen orders her Huntsman to take Snow White into the forest and kill her. She further demands that the return with Snow Whites heart in a jeweled box as proof of the deed. However, the Huntsman cannot bring himself to kill Snow White and he tearfully begs for her forgiveness, revealing the Queen wants her dead and urges her to flee into the woods and never look back. Lost and frightened, the princess is befriended by woodland creatures who lead her to a deep in the woods. Finding seven small chairs in the dining room, Snow White assumes the cottage is the untidy home of seven orphaned children. In reality, the cottage belongs to seven adult dwarfs, named Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy, and Dopey, returning home, they are alarmed to find their cottage clean and suspect that an intruder has invaded their home. The dwarfs find Snow White upstairs, asleep across three of their beds, Snow White awakes to find the dwarfs at her bedside and introduces herself, and all of the dwarfs eventually welcome her into their home after they learn she can cook and clean beautifully. Snow White keeps house for the dwarfs while they mine for jewels during the day, the Queen goes to the cottage while the dwarfs are away, but the animals are wary of her and rush off to find the dwarfs. Faking a potential attack, the Queen tricks Snow White bringing her into the cottage to rest
10.
Dwarf (mythology)
–
In Germanic mythology, a dwarf is a being that dwells in mountains and in the earth, and is variously associated with wisdom, smithing, mining, and crafting. Dwarfs are often described as short and ugly, although some scholars have questioned whether this is a later development stemming from comical portrayals of the beings. The concept of the dwarf has had influence in popular culture. The modern English noun dwarf descends from the Old English dweorg and it has a variety of cognates in other Germanic languages, including Old Norse dvergr and Old High German twerg. According to Vladimir Orel, the English noun and its cognates ultimately descend from Proto-Germanic *đwerȝaz, beyond the Proto-Germanic reconstruction, the etymology of the word dwarf is highly contested. Competing etymologies include a basis in the Indo-European root *dheur-, the Indo-European root *dhreugh, modern English has two plurals for the word dwarf, dwarfs and dwarves. Dwarfs remains the most commonly employed plural, regarding the plural, Tolkien wrote in 1937, I am afraid it is just a piece of private bad grammar, rather shocking in a philologist, but I shall have to go with it. Norse mythology provides different mythical origins for the beings, as recorded in the Poetic Edda, the Poetic Edda poem Völuspá details that the dwarfs were the product of the primordial blood of the being Brimir and the bones of Bláinn. The Prose Edda, however, describes dwarfs as beings similar to maggots that festered in the flesh of Ymir before being gifted with reason by the gods. The Poetic Edda and Prose Edda contain over 100 dwarf names, while the Prose Edda gives the four dwarfs Norðri, Suðri, Austri and Vestri a cosmological role, they hold up the sky. In addition, scholars have noted that the Svartálfar appear to be the same beings as dwarfs, one dwarf named Alvíss claimed the hand of Thors daughter Þrúðr in marriage, but he was kept talking until daybreak and turned to stone, much like some accounts of trolls. After the Christianization of the Germanic peoples, tales of dwarfs continued to be told in the folklore of areas of Europe where Germanic languages were spoken, in the late legendary sagas, dwarfs demonstrate skill in healing as well as in smithing. In the early Norse sources, there is no mention of their short, in the legendary sagas, however, they are small. Anatoly Liberman suggests that dwarfs may have originally been thought of as supernatural beings. Old Norse dwarf names include Fullangr and Hár, whereas Anglo-Saxon glosses use dweorg to render Latin terms such as nanus and pygmaeus, dwarfs in folklore are usually described as old men with long beards. Female dwarfs are hardly ever mentioned, however, in the Swedish ballad Herr Peder och Dvärgens Dotter, the role of supernatural temptress is played by a dwarfs daughter. The Anglo-Saxon charm Wið Dweorh appears to relate to sleep disturbances, in the Old English Herbal, it translates Latin verrucas, warts. Lotte Motz theorized that the Germanic dwarfs, particularly as smiths and gatekeepers, there were seven dwarfs in the Brothers Grimms fairy tale Snow White
11.
Heigh-Ho
–
Heigh-Ho is a song from Walt Disneys 1937 animated film Snow White and the Seven Dwarfs, written by Frank Churchill and Larry Morey. It is sung by the group of seven dwarfs as they work at a mine with diamonds and rubies, and is one of the best-known songs in the film. The melodic theme for Heigh-Ho might have inspired by Robert Schumanns composition for piano The Happy Farmer, Returning From Work from his 1848 work Album for the Young. The other Dwarf Chorus songs are Bluddle-Uddle-Um-Dum and The Silly Song, the phrase Heigh-Ho was first recorded in 1553 and is defined as an expression of yawning, sighing, languor, weariness, disappointment. Eventually, it blended meanings with the similarly spelled hey-ho, the phrase hey-ho first appeared in print in 1471, according to the Oxford English Dictionary, which says it has nautical origins, meant to mark the rhythm of movement in heaving or hauling. It could also be a corruption of the Chinese phrase hen hao meaning ok, or very well, donald Duck sings this song in The Volunteer Worker, and The Riveter. In 1955, Jack Pleis recorded it for his album, Music from Disneyland, the song was also featured in the 1979 stage adaption of the 1937 animated musical film. In the 1988 Disney animated film Oliver & Company, Tito sings Heigh-Ho, Heigh-Ho, the group Mannheim Steamroller covered the song on their 1999 album, Mannheim Steamroller Meets the Mouse. Los Lobos recorded a Spanish-language cover of song for their 2009 album Los Lobos Go Disney. On the 2011 album V-Rock Disney, which features visual kei artists covering Disney songs, on 2012 album Disney – Koe no Oujisama Vol.2, which features various Japanese voice actors covering Disney songs, this song was covered by Hiroshi Kamiya. The TV series The Electric Company parodied the song twice, both in Snow White related skits, in one, Snow Ball and the Six Dwarfs, in the book Fudge-a-Mania, the character Sheila was singing the song after getting a baby-sitting job. In World of Warcraft, when playing as a male Dwarf, ugh, second verse, same as the first. The Snow White sequence of the Simpsons episode, Four Great Women, one of the most famous scenes in the 1984 movie Gremlins has the Gremlins watching the Heigh-Ho scene in a theater in Kingston Falls, and singing along. Tom Waits recorded a version of Heigh-Ho for the 1988 A&M record Stay Awake, the song was included on the Bastards Disc from his 2006 album Orphans. Bruce and Bongo also created a remix based on this song in 1986 Hi Ho, the song was also used in a 2010 Hersheys Kisses commercials, Biobest vitality commercials in Canada, and the Levi Strauss & Co. Go Forth ad campaign centered on Braddock, Pennsylvania, in the Discworld novel series, the song – and several bawdy variations – is only obliquely referred to as the Heigh-Ho Song. A much enjoyed song, its one of the few popular dwarf songs not about gold. The scene was featured as a background during the closing credits in the 1996 fantasy-horror TV show Liham ng Gabi
12.
Pinocchio (1940 film)
–
Pinocchio is a 1940 American animated musical fantasy film produced by Walt Disney Productions and based on the Italian childrens novel The Adventures of Pinocchio by Carlo Collodi. It was the animated feature film produced by Disney, made after the success of Snow White. The plot of the film involves an old wood-carver named Geppetto who carves a puppet named Pinocchio. The puppet is brought to life by a fairy, who informs him that he can become a real boy if he proves himself to be brave, truthful. Pinocchios efforts to become a real boy involve encounters with a host of unsavory characters, the film was adapted by Aurelius Battaglia, William Cottrell, Otto Englander, Erdman Penner, Joseph Sabo, Ted Sears, and Webb Smith from Collodis book. The production was supervised by Ben Sharpsteen and Hamilton Luske, and the sequences were directed by Norman Ferguson, T. Hee, Wilfred Jackson, Jack Kinney. Pinocchio was an achievement in the area of effects animation, giving realistic movement to vehicles, machinery and natural elements such as rain, lightning, smoke, shadows. The film was released to theaters by RKO Radio Pictures on February 7,1940, critical analysis of Pinocchio identifies it as a simple morality tale that teaches children of the benefits of hard work and middle-class values. It eventually made a profit in its 1945 reissue, and is considered one of the greatest animated films ever made, the film and characters are still prevalent in popular culture, featuring at various Disney parks and in other forms of entertainment. In 1994, Pinocchio was added to the United States National Film Registry for being deemed culturally, historically, Jiminy Cricket explains that he is going to tell a story of a wish coming true. His story begins in the workshop of a woodworker named Geppetto, Jiminy watches as Geppetto finishes work on a wooden marionette whom he names Pinocchio. Before falling asleep, Geppetto makes a wish on a star that Pinocchio be a real boy, during the night, a Blue Fairy visits the workshop and brings Pinocchio to life, although he still remains a puppet. She informs him if he proves himself brave, truthful, and unselfish, he will become a real boy. Geppetto discovers that his wish has come true, and is filled with joy. However, on his way to school, Pinocchio is led astray by Honest John the Fox and his companion, Gideon the Cat, Pinocchio becomes Strombolis star attraction as a marionette who can sing and dance without strings. However, when Pinocchio wants to go home for the night, Jiminy arrives to see Pinocchio, and is unable to free him. The Blue Fairy appears, and asks Pinocchio why he was not at school, Jiminy urges Pinocchio to tell the truth, but instead he starts telling lies, which causes his nose to grow longer and longer. Pinocchio vows to be good from now on, and the Blue Fairy returns his nose to its form and sets him free
13.
Gulliver's Travels (1939 film)
–
This is Fleischer Studios first feature-length animated film. The film was the animated feature film produced by an American studio, the first being Snow White. The story is based loosely on that of Lilliput and Blefuscu depicted in the first part of Jonathan Swifts 18th century novel. On November 5,1699, Lemuel Gulliver washes onto the beach of Lilliput, after a storm at sea, following the calm of the storm, the Town Crier Gabby stumbles across Gulliver and rushes to warn King Little. But Little and King Bombo of Blefescu are signing a contract between their children, Princess Glory of Lilliput and Prince David of Blefuscu. All is fine until an argument starts over which national anthem is to be played at the wedding, the argument cancels the wedding and starts a war. After failures, Gabby tells King Little of the giant on the beach, there, the Lilliputians tie Gulliver to a wagon on which they convey him to the capital. Meanwhile, Gulliver learns of the cause from Glory and David. When the spies assure King Bombo that they can kill Gulliver, Bombo announces by carrier pigeon Twinkletoes, Gabby intercepts this message and warns the Lilliputians, but is himself captured by the spies and stuffed in a sack, who prepare the pistol. As the Blefuscuian fleet approaches Lilliput, Gulliver ties them together, the spies fire at Gulliver from a cliff, but Prince David diverts the shot and falls to his apparent death. Both thereafter build a new ship for Gulliver, on which he departs, the Gullivers Travels score by Victor Young was offered for Academy Award consideration, but lost out to The Wizard of Oz. Its a Hap-Hap-Happy Day, later became a theme used for on Fleischer. I Hear a Dream was also popular as well. Max Fleischer had envisioned a feature as early as 1934, but Paramount vetoed the idea based largely on their interests in maintaining financial solvency following their series of bankruptcy reorganizations. However, after the success of Snow White and the Seven Dwarfs, Paramount wanted to duplicate the Disney success, when the story was first written in New York, Popeye the Sailor had originally been cast as Gulliver. This was scrapped, however, and the story was restructured once the West Coast team of Cal Howard, Tedd Pierce, one of the major challenges for Fleischer Studios was the 18 month delivery envelope, coming at a time when Fleischer Studios was relocating to Miami, Florida. While Snow White was in production for 18 months, it had been in development for just as long, allowing for a total of three years to reach the screen, to meet this deadline, the Fleischer staff was greatly expanded to some 800 employees. Animation training classes were set up with Miami art schools as a conduit for additional workers, several West Coast techniques were introduced in order to provide better animation and greater personality in the characters
14.
Mr. Bug Goes to Town
–
Mr. Bug Goes to Town is an animated feature produced by Fleischer Studios and released to theaters by Paramount Pictures on December 5,1941. Instead they fashioned a story loosely based on the book. The film was produced by Max Fleischer and directed by Dave Fleischer, with sequences directed by Willard Bowsky, Shamus Culhane. Ellison, Thomas Johnson, Graham Place, Stanley Quackenbush, David Tendlar, and Myron Waldman. It featured the songs, Were the Couple in the Castle, Katy Did, Katy Didnt, Ill Dance at Your Wedding by Hoagy Carmichael and Frank Loesser, Hoppity the Grasshopper, after a period spent away, returns to an American city. He finds that all is not as he left it, and his friends are now under threat from the human ones. Insect houses are being flattened and burned by cast away cigar butts, old Mr Bumble and his beautiful daughter Honey are in grave danger of losing their Honey Shop to this threat. To compound their problems, devious insect property magnate C, Hoppity discovers that the Songwriter and his wife are waiting for a check thing from the Famous Music publishing company for the songwriters composition, Were the Couple in the Castle. Bagley Beetle and his henchmen steal the check, bagley Beetles nefarious scheme, but Beetle and his henchmen seal Hoppity inside the envelope and hide it in a crack in a wall. As the wedding is going on Smack and Swat discover that a company is going to be erecting a skyscraper on the property of the former home of the Songwriter. Bagley Beetles property where the Lowlanders moved in thanks to Beetles generosity, as Swat and Smack try unsuccessfully to get Beetle out of danger at the wedding, a weight from a surveyors level rips through the chapel causes the bugs to flee in terror back to the Lowlands. Bagley Beetle and his try to kidnap Honey. Meanwhile, Hoppity escapes when the construction crew demolishes the wall, Hoppity comes to Honeys rescue, battles Beetle and his henchmen, and wins. Hoppity tells the citizens all about C, bagley Beetles finding the check and hiding it, but Hoppitys story doesnt actually change anything, they are still in danger and are angry at Hoppity. While the building is being built, the check finally arrives in the hands of the Songwriter, meanwhile, Hoppity leads an exodus from the Lowlands to the top of the skyscraper, where he is sure the Songwriter has built a home and invited the bugs to live there. They get to the top, which at first appears to be barren, Honey and the rest of the Lowlanders live there happily ever after in their new home. And as Ambrose looks over the edge, he remarks, Look at all the ones down there. They look just like a lot of little bugs, Fleischer Studios first feature, Gullivers Travels, did such impressive business in its first week that Paramount president Barney Balaban ordered another feature for a Christmas 1941 release
15.
Chuck Jones
–
Charles Martin Chuck Jones was an American animator, filmmaker, cartoonist, author, artist, and screenwriter, best known for his work with Warner Bros. Cartoons on the Looney Tunes and Merrie Melodies shorts and he later started his own studio, Chuck Jones Enterprises, which created several one-shot specials, and periodically worked on Looney Tunes related works. Jones was nominated for an Academy Award eight times and won three times, receiving awards for the cartoons For Scent-imental Reasons, So Much for So Little, and The Dot and he received an Honorary Academy Award in 1996 for his work in the animation industry. Film historian Leonard Maltin has praised Jones work at Warner Bros and he also said that the feud that there may have been between Jones and colleague Bob Clampett was mainly because they were so different from each other. In Jerry Becks The 50 Greatest Cartoons, ten of the entries were directed by Jones, Jones was born on September 21,1912, in Spokane, Washington, the son of Mabel McQuiddy and Charles Adams Jones. He later moved with his parents and three siblings to the Los Angeles, California area, in his autobiography, Chuck Amuck, Jones credits his artistic bent to circumstances surrounding his father, who was an unsuccessful businessman in California in the 1920s. His father, Jones recounts, would start new business venture by purchasing new stationery. When the business failed, his father would quietly turn the huge stacks of useless stationery and pencils over to his children, armed with an endless supply of high-quality paper and pencils, the children drew constantly. Jones recounted years later that this pronouncement came as a relief to him, as he was well past the 200,000 mark. Jones and several of his siblings went on to artistic careers, during his artistic education, he worked part-time as a janitor. After graduating from Chouinard Art Institute, Jones got a call from a friend named Fred Kopietz. He worked his way up in the industry, starting as a cell washer, then I moved up to become a painter in black and white. Then I went on to take animators drawings and traced them onto the celluloid, then I became what they call an in-betweener, which is the guy that does the drawing between the drawings the animator makes. While at Iwerks, he met a cel painter named Dorothy Webster, Jones joined Leon Schlesinger Productions, the independent studio that produced Looney Tunes and Merrie Melodies for Warner Bros. in 1933 as an assistant animator. In 1935, he was promoted to animator, and assigned to work with new Schlesinger director Tex Avery, Jones became a director himself in 1938 when Frank Tashlin left the studio. He was actively involved in efforts to unionize the staff of Leon Schlesinger Studios and he was responsible for recruiting animators, layout men, and background people. Almost all animators joined, in reaction to salary cuts imposed by Leon Schlesinger, the Metro-Goldwyn-Mayer cartoon studio had already signed a union contract, encouraging their counterparts under Schlesinger. In a meeting with his staff, Schlesinger talked for a few minutes and his insulting manner had a unifying effect on the staff
16.
Woody Woodpecker
–
Though not the first of the screwball characters that became popular in the 1940s, Woody is one of the most indicative of the type. Woody was originally voiced by voice actor Mel Blanc, who was succeeded by Ben Hardaway and later by Grace Stafford. Lantz produced theatrical cartoons longer than most of his contemporaries, and Woody Woodpecker remained a staple of Universals release schedule until 1972 and he was voiced by Mel Blanc. Woody has a motion picture star on the Hollywood Walk of Fame on 7000 Hollywood Boulevard and he also made a cameo alongside many other famous cartoon characters in the 1988 film Who Framed Roger Rabbit. Woody Woodpecker and friends are also icons at the Universal Studios Theme Parks worldwide, as well as the PortAventura Park in Salou, according to Walter Lantzs press agent, the idea for Woody came during the producers honeymoon with his wife, Gracie, in Lake Sherwood, California. A noisy acorn woodpecker outside their cabin kept the couple awake at night, Woody shares many characteristics in common with the pileated woodpecker in terms of both physical appearance as well as his characteristic laugh, which resembles the call of the pileated woodpecker. Woody Woodpecker first appeared in the short Knock Knock on November 25,1940, the cartoon ostensibly stars Andy Panda and his father, Papa Panda, but it is Woody who steals the show. The woodpecker constantly pesters the two pandas, apparently just for the fun of it, Andy, meanwhile, tries to sprinkle salt on Woodys tail in the belief that this will somehow capture the bird. To Woodys surprise, Andys attempts prevail, and Woody is taken away to the funny farm —, the Woody of Knock Knock was designed by animator Alex Lovy. Woodys original voice actor, Mel Blanc, would stop performing the character after the first two cartoons to work exclusively for Leon Schlesinger Productions, producer of Warner Bros. At Schlesingers, Blanc had already established the voices of two other famous characters who preceded Woody, Daffy Duck and Bugs Bunny. Blancs regular speaking voice for Woody was much like the early Daffy Duck, once Warner Bros. signed Blanc up to an exclusive contract, Woodys voice-over work was taken over by Ben Hardaway, who would voice the woodpecker for the rest of the decade. During that time, Blancs Guess Who and laugh are archive sound, audiences reacted well to Knock Knock, and Lantz realized he had finally hit upon a star to replace the waning Oswald the Lucky Rabbit. Woody would go on to star in a number of films, with his innate chutzpah and brash demeanor, the character was a natural hit during World War II. His image appeared on US aircraft as nose art, and on mess halls, the 1943 Woody cartoon The Dizzy Acrobat was nominated for the 1944 Academy Award for Best Short Subject, which it lost to the MGM Tom and Jerry cartoon The Yankee Doodle Mouse. Curiously enough, Avery himself never directed a Woody Woodpecker short while at the Walter Lantz studio, animator Emery Hawkins and layout artist Art Heinemann streamlined Woodys appearance for the 1944 film The Barber of Seville, directed by Shamus Culhane. The bird became rounder, cuter, and less demented and he also sported a simplified color scheme and a brighter smile, making him much more like his counterparts at Warner Bros. and MGM. Nevertheless, Culhane continued to use Woody as a lunatic, not a domesticated straight man or defensive homebody
17.
The Barber of Seville (1944 film)
–
The Barber of Seville is the tenth animated cartoon short subject in the Woody Woodpecker series. Released theatrically on April 22,1944, the film was produced by Walter Lantz Productions, Woody arrives at Tony Figaros barber shop in hopes of getting a victory haircut. Finding the shops proprietor out for an Army physical, Woody attempts to cut his own hair, shortly afterwards, Woodys second and primary customer is a burly Italian construction worker who asks for the whole works. Once Woody blow-torches the mans construction helmet off his head, he proceeds to lather his clients face, chin, mouth, Woody then produces a sharp razor and begins shaving the man. Woody elevates the barbers chair to the ceiling while singing an aria, allowing the man to fall to the ground, Woody then begins liberally swinging the razor at his frightened client, who runs to escape him. The construction worker is dusted off and sent out the door on his way, the man picks Woody up and slings him through a glass window and back inside the shop, where the woodpecker lands and is bopped by shaving mugs falling from a broken shelf. As a last touch, the barbers pole falls on Woody, the Barber of Seville was the first cartoon to feature a more streamlined character design for Woody Woodpecker, courtesy of veteran animator Emery Hawkins and art director Art Heinemann. In prior shorts, Woody had had a grotesque appearance, including buck teeth, a receding chin. Heinemann removed these features, and restructured Woodys body to conform to the modern standards in use for characters such as those appearing in Disney. The audio for this sequence is lifted from Woodys first starring appearance in the 1941 cartoon Woody Woodpecker. Ben Hardaway, also the co-storyman on Barber of Seville, provides Woodys voice for the first time, Hardaway would become Woodys sole speaking voice for the remainder of the decade. A parody of Gioacchino Rossinis opera of the name, The Barber of Seville is noted for its uses of speed, timing. During the shaving of the client, several shots are presented in rapid succession. Culhane later called The Barber of Seville one of my most satisfying achievements as a director, by 1944, Rossinis opera was a staple of American cartoon humor, with a noted earlier use in the Looney Tunes short Notes to You starring Porky Pig. Later cartoons to parody Rossinis music include Rabbit of Seville, Kitty Foiled, in 1994, The Barber of Seville was voted #43 of The 50 Greatest Cartoons of all time, as voted by 1000 animation professionals and edited by Jerry Beck. It is the only Woody Woodpecker entry included in the list, list of American films of 1944
18.
Sergei Eisenstein
–
Sergei Mikhailovich Eisenstein was a Soviet film director and film theorist, a pioneer in the theory and practice of montage. He is noted in particular for his silent films Strike, Battleship Potemkin and October, as well as the historical epics Alexander Nevsky and Ivan the Terrible. Eisenstein was born to a family in Riga, Latvia. His father, Mikhail Osipovich Eisenstein was born to a German Jewish father who had converted to Christianity, Osip Eisenstein, and his mother, Julia Ivanovna Konetskaya, was from a Russian Orthodox family. According to other sources, both of his grandparents were of Baltic German descent. His father was an architect and his mother was the daughter of a prosperous merchant, Julia left Riga the same year as the Russian Revolution of 1905, taking Sergei with her to St. Petersburg. Her son would return at times to see his father, who joined them around 1910, divorce followed and Julia left the family to live in France. Eisenstein was raised as an Orthodox Christian, but became an atheist later on, at the Petrograd Institute of Civil Engineering, Sergei studied architecture and engineering, the profession of his father. In 1918 Sergei left school and joined the Red Army to serve the Bolshevik Revolution and this brought his father to Germany after the defeat of the Tsarist government, and Sergei to Petrograd, Vologda, and Dvinsk. In 1920, Sergei was transferred to a position in Minsk. At this time, he was exposed to Kabuki theatre and studied Japanese, learning some 300 kanji characters and these studies would lead him to travel to Japan. In 1920 Eisenstein moved to Moscow, and began his career in working for Proletkult. His productions there were entitled Gas Masks, Listen Moscow, Eisenstein would then work as a designer for Vsevolod Meyerhold. In 1923 Eisenstein began his career as a theorist, by writing The Montage of Attractions for LEF, Eisensteins first film, Glumovs Diary, was also made in that same year with Dziga Vertov hired initially as an instructor. Strike was Eisensteins first full-length feature film, the Battleship Potemkin was acclaimed critically worldwide. Officially, the trip was supposed to allow Eisenstein and company to learn about sound motion pictures, for Eisenstein, however, it was also an opportunity to see landscapes and cultures outside those found within the Soviet Union. He spent the two years touring and lecturing in Berlin, Zürich, London, and Paris. In 1929, in Switzerland, Eisenstein supervised an educational documentary about abortion directed by Tissé entitled Frauennot - Frauenglück, in late April 1930, Jesse L. Lasky, on behalf of Paramount Pictures, offered Eisenstein the opportunity to make a film in the United States
19.
Russian avant-garde
–
The term covers many separate, but inextricably related, art movements that flourished at the time, namely Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum and Neo-primitivism. Given that many artists involved were born or grew up in what is present day Belarus and Ukraine. In 2007, the Modern Museum of Art MoMA in New York, devoted an exhibition entirely to the *Lost Vanguard, Soviet Architecture, beyond Symbolism and Surrealism, Alexei Remizovs Synthetic Art, Northwestern University Press,2010. ISBN 0-8101-2617-6 Russian avant-garde on YouTube - video Kovalenko, G. F, the Russian Avant-Garde of 1910-1920 and Issues of Expressionism. Vitebsk Museum of Modern Art, a history of creation and a collection, -144 p. “Encyclopedia of Russian Avangard. Architecture Vol.1 A-K, Vol.2 L-Z Biography”, sarab’yanov A. D. Mosсow,2013 Surviving Suprematism, Lazar Khidekel. Judah L. Magnes Museum, Berkeley CA,2004 Lazar Khidekel, prestel,2014 Why did Soviet Photographic Avant-garde decline. T
20.
The Bell Laboratory Science Series
–
The Bell Laboratory Science Series consists of nine television specials made for the AT&T Corporation that were originally broadcast in color between 1956 and 1964. AT&T and its subsidiary Bell Telephone System had a history of sponsoring broadcasting such as the Bell Telephone Hour, aT&Ts advertising agency, N. W. Ayer & Son, suggested that they also sponsor television specials aimed at family audiences. Science was a natural choice, given the accomplishments and reputation of the company’s research arm. They ultimately approached the famed filmmaker Frank Capra, who had numerous nominations and wins for the Academy Award for Best Director in the 1930s and 40s for films such as Its a Wonderful Life, Capra produced the four films that were televised from 1956–1958. The second four films were produced by Warner Bros, Pictures, with veteran filmmaker Owen Crump in charge, these were televised between 1958 and 1962. The final film was produced by Walt Disney Pictures, and televised in 1964, each special explored a single subject in detail. The host for the first eight films was Dr. Frank C, Baxter, a USC professor of English and television personality who played the role of Dr. Research. The host for the last film in the series was Walt Disney, following their television broadcast, the films were made available at minimal cost for classroom use. J. B. Gilbert estimated that, by the mid 1960s, most of the films have been released for home video. The first four films of the series were produced and written by Frank Capra from 1952–1956, as described by biographer Joseph McBride, Capra had retired from feature filmmaking by 1952, due in part to the turmoil of the Hollywood Blacklist era. McBride writes that Capra undoubtedly realized that the AT&T job was a way of going back to work quietly, like his work on the war films, he employed found footage and animation to verify, illustrate, and document what was being said in the voice-over narration. After the Bell series, Capra returned to films as the director of A Hole in the Head. From the beginning of the project, Capra had insisted that the films would explore the relationship of science, furthermore, I will say that science, in essence, is just another facet of mans quest for God. Capras screenplays called for two characters, Dr. Research and Mr. Fiction Writer, who would interact both with other and with animated characters specific to each film. Matthew Gunter adds that the Fiction Writer possesses many of the characteristics of the heroes in earlier Capra films, Mr. Writer also acts like the audiences surrogate, often expressing a healthy skepticism or disbelief about the facts Dr. Research presents, asking questions to the scientist, and translating his technical verbiage into the language of the common people, the religious elements in the screenplays occasioned much discussion and some acrimony with the scientific advisory board and consultants such as Donald Menzel, but many were finally incorporated. James Gilbert has written, When finally produced, Our Mr. Sun included a mixture of science, documentary footage, low-key advertising, most striking, Our Mr. Sun began and ended with inescapable religious allusions
21.
Famous Studios
–
Famous Studios was the first animation division of the film studio Paramount Pictures from 1942 to 1967. Famous was founded as a company to Fleischer Studios, after Paramount seized control of the aforementioned studio and ousted its founders, Max and Dave Fleischer. The Famous name was used as Famous Players Film Company, one of several companies which in 1912 became Famous Players-Lasky Corporation. Paramounts music publishing branch, which held the rights to all of the music in the Fleischer/Famous cartoons, was named Famous Music. Fleischer Studios was an animation studio responsible for producing successful cartoon shorts starring characters such as Betty Boop. The studio moved its operations from New York City to Miami Beach, Florida in 1938, following union problems, while Gulliver was a success, the expense of the move and increased overhead costs created finance problems for the Fleischer Studios. The studio depended upon advances and loans from its distributor, Paramount Pictures, in order to continue production on its subjects and to begin work on a second feature. On May 25,1941, Paramount assumed full ownership of Fleischer Studios, following the unsuccessful release of Mr. Bug in December 1941, Max Fleischer, no longer able to cooperate with Dave, sent Paramount a telegram expressing such. Paramount responded by producing the letters of resignation, severing the Fleischer brothers from control of their studio, Paramount renamed the studio Famous Studios. Although they had ownership of the company, it remained a separate entity, Buchwald assumed Max Fleischers place as executive producer, while Sparber and Kneitel shared Dave Fleischers former responsibilities as supervising producers and credited directors. A third animation director, Dan Gordon, remained only briefly before departing after 1943, shortly after the takeover, Paramount began plans to move a significantly downsized Famous Studios back to New York, a move completed early in 1943. These artists remained with Famous/Paramount for much of the studios existence, sammy Timberg served as musical director until he was replaced in 1946 by Winston Sharples, who formerly worked with the Van Beuren Studios. Continuing series from the Fleischer period included Popeye the Sailor and Superman, the expensive Superman cartoons, having lost their novelty value with exhibitors, ended production in 1943, a year after Famous inception. They were replaced by a series starring Saturday Evening Post comic strip character Little Lulu, also in 1943, Famous began producing the formerly black-and-white Popeye cartoons in Technicolor, and began a new series of one-shot cartoons under the umbrella title Noveltoons. In 1947, Paramount decided to stop paying Little Lulu creator Marge licensing royalties and that same year Famous resurrected an old Fleischer series, Screen Songs, introducing a new series of musical cartoons featuring a bouncing ball sing-along. In 1951 the Screen Songs became Kartune Musical Shorts, which ended in 1953 after Max Fleischer claimed ownership of the bouncing ball trademark, only two more musical cartoons were released, in 1954 and 1963. Although the studio still carried much of the staff from the previous regime, sam Buchwald died of a heart attack in 1951. Seymour Kneitel and Isadore Sparber became the heads of the studio soon after
22.
Textbook
–
A textbook or coursebook is a manual of instruction in any branch of study. Textbooks are produced according to the demands of educational institutions, schoolbooks are textbooks and other books used in schools. Although most textbooks arent only published in printed format, many are now available as online electronic books, the ancient Greeks wrote texts intended for education. The modern textbook has its roots in the standardization made possible by the printing press, Johannes Gutenberg himself may have printed editions of Ars Minor, a schoolbook on Latin grammar by Aelius Donatus. Early textbooks were used by tutors and teachers, who used the books as instructional aids, the Greek philosopher Plato lamented the loss of knowledge because the media of transmission were changing. Before the invention of the Greek alphabet 2,500 years ago, knowledge and stories were recited aloud, the new technology of writing meant stories no longer needed to be memorized, a development Socrates feared would weaken the Greeks mental capacities for memorizing and retelling. The next revolution for books came with the 15th-century invention of printing with changeable type, the invention is attributed to German metalsmith Johannes Gutenberg, who cast type in molds using a melted metal alloy and constructed a wooden-screw printing press to transfer the image onto paper. Gutenbergs invention made mass production of texts possible for the first time, compulsory education and the subsequent growth of schooling in Europe led to the printing of many standardized texts for children. Textbooks have become the primary teaching instrument for most children since the 19th century, two textbooks of historical significance in United States schooling were the 18th century New England Primer and the 19th century McGuffey Readers. Technological advances change the way people interact with textbooks, online and digital materials are making it increasingly easy for students to access materials other than the traditional print textbook. Students now have access to electronic and PDF books, online tutoring systems, an example of an electronically published book, or e-book, is Principles of Biology from Nature Publishing. Most notably, a number of authors are foregoing commercial publishers. The textbook market does not operate in the manner as most consumer markets. First, the end consumers do not select the product, therefore, price is removed from the purchasing decision, giving the producer disproportionate market power to set prices high. This fundamental difference in the market is often cited as the reason that prices are out of control. The term broken market first appeared in the economist James Kochs analysis of the commissioned by the Advisory Committee on Student Financial Assistance. This situation is exacerbated by the lack of competition in the textbook market, consolidation in the past few decades has reduced the number of major textbook companies from around 30 to just a handful. Consequently, there is less competition than there used to be, Students seek relief from rising prices through the purchase of used copies of textbooks, which tend to be less expensive
23.
Golden age of American animation
–
The golden age of American animation was a period in the history of U. S. Feature length animation also began during this period, most notably with Walt Disneys first films, Snow White, the animation in television also was born in this period with the short films and animated series from the 1930s to 1960s. Shortly after returning to Kansas City, Missouri from World War I, Walt Disney decided to become a newspaper cartoonist drawing political caricatures, whilst working here he made commercials for local theaters using crude cut-out animation. Disney became fascinated by the art and decided to become an animator, Disney then teamed up with Fred Harman and made their first film, The Little Artist which was nothing more than an artist taking a cigarette break at his work desk. None of these films turned a profit, the last film made by the company was a short called Alices Wonderland. Loosely inspired by Lewis Carrolls Alices Adventures in Wonderland, the featured a live-action five-year-old girl named Alice who had adventures in a fully animated world. The film was never fully complete however as the studio went bankrupt in the summer of 1923, upon the closure of Laugh-O-Grams, Walt worked as a freelance filmmaker before selling his camera for a one-way ticket to Los Angeles. Once arriving he moved in with his Uncle Robert and his brother Roy, after failing to get a job as a director of live-action films he sent the unfinished Alices Wonderland reel to short-subjects distributor Margaret J. Winkler of Winkler Pictures in New York. Once Walt received the notice on October 15, he convinced Roy to leave the hospital, the next day, on October 16,1923, Disney Bros. Cartoon Studio opened its doors at a rented office two blocks away from his uncles house with Roy managing business and Walt handling creative affairs. He convinced Virginia Daviss parents which caused the first official Alice short, Alices Day at Sea, to be released on January 1,1924, delayed by eleven days. Ub Iwerks was re-hired in February 1925 and the quality of animation on the Alice series improved, in February 1926, Disney built a larger studio at 2719 Hyperion Avenue and changed the name of the company to Walt Disney Cartoons. In November 1923, Winkler married Charles Mintz and handed over the business to him when she fell pregnant a few months later and he looked us over like an admiral surveying a row of stanchions. Whilst Winkler had offered gentle critiques and encouragement, Mintz communicated to Disney in a harsh, in 1927, Mintz ordered Disney to stop producing Alice Comedies due to the costs of combining live-action and animation. Mintz managed to gain a deal with Universal Studios, however it was Mintz—not Disney—that signed the deal. Disney and lead animator Ub Iwerks created Oswald the Lucky Rabbit, the Oswald series was a success and became the first hit for the Disney studio. In the spring of 1928, Disney traveled to New York to ask Mintz for a budget increase and his request was harshly denied by Mintz, who pointed out that in the contract Mintz had signed with Universal, it was Universal—not Disney—that owned the rights to the character. Walt refused, and Winkler Pictures dropped its distribution, while Disney was finishing the remaining cartoons for Mintz, Disney and his staff secretly came up with a new cartoon character to replace Oswald—Mickey Mouse
24.
Chico Marx
–
Leonard Marx, known professionally as Chico Marx, was an American comedian, musician, bandleader, actor and film star. He was a member of the Marx Brothers and his persona in the act was that of a charming, dim-witted albeit crafty con artist, seemingly of rural Italian origin, who wore shabby clothes and sported a curly-haired wig and Tyrolean hat. In virtually every film that includes the trio of the Marx Brothers, Chico is seen working with Harpo Marx. Leonard was the oldest of the Marx Brothers to live past early childhood, in addition to his work as a performer, he played an important role in the management and development of the act in its early years. He was born on March 22,1887 in Manhattan, New York City, billing himself as Chico, he used an Italian persona for his onstage character, stereotyped ethnic characters were common with vaudevillians. His non-Italian-ness was specifically referred to three times on film, in Duck Soup, when Chico impersonates Groucho but retains his accent, Margaret Dumont asks what happened to his voice. Chico replies, Well, maybe sometime I go to Italy, to which Dumont replies, Your dialect is perfect. Fiorello, Well, I wouldnt know about that, Im a stranger here myself. Quentin Quayle, Can you talk Indian. Joe Panello, I was born in Indianapolis, hammer asks him if he knew what an auction was, in which he responds I come from Italy on the Atlantic Auction. He originally started playing only his right hand and fake playing with his left. Chico eventually acquired a better teacher and learned to play the piano correctly, as a young boy, he gained jobs playing piano to earn money for the Marx family. Sometimes Chico even worked playing in two places at the same time and he would acquire the first job with his piano-playing skills, work for a few nights, and then substitute Harpo on one of the jobs. In the brothers last film, Love Happy, Chico plays a piano, Lyons plays some ornate riffs on the violin, Chico comments, Look-a, Mister Lyons, I know you wanna make a good impression, but please dont-a play better than me. In a record album about the Marx Brothers, narrator Gary Owens stated that although Chicos technique was limited, the opposite was true of Harpo, who reportedly could play only two tunes on the piano, which typically thwarted Chicos scam and resulted in both brothers being fired. Groucho Marx once said that Chico never practiced the pieces he played, instead, before performances he soaked his fingers in hot water. He was known for shooting the keys of the piano and he played passages with his thumb up and index finger straight, like a gun, as part of the act. Chico became the manager of the Marx Brothers after their mother, Minnie. As manager, he cut a deal to get the brothers a percentage of a films gross receipts—the first of its kind in Hollywood, for a while in the 1930s and 1940s, Chico led a big band. Singer Mel Tormé began his career singing with the Chico Marx Orchestra
25.
IMDb
–
In 1998 it became a subsidiary of Amazon Inc, who were then able to use it as an advertising resource for selling DVDs and videotapes. As of January 2017, IMDb has approximately 4.1 million titles and 7.7 million personalities in its database, the site enables registered users to submit new material and edits to existing entries. Although all data is checked before going live, the system has open to abuse. The site also featured message boards which stimulate regular debates and dialogue among authenticated users, IMDb shutdown the message boards permanently on February 20,2017. Anyone with a connection can read the movie and talent pages of IMDb. A registration process is however, to contribute info to the site. A registered user chooses a name for themselves, and is given a profile page. These badges range from total contributions made, to independent categories such as photos, trivia, bios, if a registered user or visitor happens to be in the entertainment industry, and has an IMDb page, that user/visitor can add photos to that page by enrolling in IMDbPRO. Actors, crew, and industry executives can post their own resume and this fee enrolls them in a membership called IMDbPro. PRO can be accessed by anyone willing to pay the fee, which is $19.99 USD per month, or if paid annually, $149.99, which comes to approximately $12.50 per month USD. Membership enables a user to access the rank order of each industry personality, as well as agent contact information for any actor, producer, director etc. that has an IMDb page. Enrolling in PRO for industry personnel, enables those members the ability to upload a head shot to open their page, as well as the ability to upload hundreds of photos to accompany their page. Anyone can register as a user, and contribute to the site as well as enjoy its content, however those users enrolled in PRO have greater access and privileges. IMDb originated with a Usenet posting by British film fan and computer programmer Col Needham entitled Those Eyes, others with similar interests soon responded with additions or different lists of their own. Needham subsequently started an Actors List, while Dave Knight began a Directors List, and Andy Krieg took over THE LIST from Hank Driskill, which would later be renamed the Actress List. Both lists had been restricted to people who were alive and working, the goal of the participants now was to make the lists as inclusive as possible. By late 1990, the lists included almost 10,000 movies and television series correlated with actors and actresses appearing therein. On October 17,1990, Needham developed and posted a collection of Unix shell scripts which could be used to search the four lists, at the time, it was known as the rec. arts. movies movie database
26.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
