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When you wish upon a star', 'Whistle While You Work', 'The Happiest Place on Earth' - these are lyrics indelibly linked to Disney, one of the most admired and best-known companies in the world. So when Roy Disney, chairman of Disney animation, abruptly resigned in November 2003 and declared war on chairman and chief executive Michael Eisner, he sent shock waves throughout the world. DISNEYWAR is the dramatic inside story of what drove this iconic entertainment company to civil war, told by one of America's most acclaimed journalists. Drawing on unprecedented access to both Eisner and Roy Disney, current and former Disney executives and board members, as well as hundreds of pages of never-before-seen letters and memos, James B. Stewart gets to the bottom of mysteries that have enveloped Disney for years. In riveting detail, Stewart also lays bare the creative process that lies at the heart of Disney. Even as the executive suite has been engulfed in turmoil, Disney has worked - and sometimes clashed - with a glittering array of Hollywood players, many of who tell their stories here for the first time.
During a time of unprecedented political, social, and cultural upheaval in U.S. history, one of the fiercest battles was ignited by a comic book. In 1963, the San Francisco Chronicle made 21-year-old Dan O'Neill the youngest syndicated cartoonist in American newspaper history. As O'Neill delved deeper into the emerging counterculture, his strip, Odd Bodkins, became stranger and stranger and more and more provocative, until the papers in the syndicate dropped it and the Chronicle let him go. The lesson that O'Neill drew from this was that what America most needed was the destruction of Walt Disney. O'Neill assembled a band of rogue cartoonists called the Air Pirates (after a group of villains who had bedeviled Mickey Mouse in comic books and cartoons). They lived communally in a San Francisco warehouse owned by Francis Ford Coppola and put out a comic book, Air Pirates Funnies, that featured Disney characters participating in very un-Disneylike behavior, provoking a mammoth lawsuit for copyright and trademark infringements and hundreds of thousands of dollars in damages. Disney was represented by one of San Francisco's top corporate law firms and the Pirates by the cream of the counterculture bar. The lawsuit raged for 10 years, from the trial court to the US Supreme Court and back again.
Disney During World War II encompasses the full range of material created by the Disney studio during the war, including ground-breaking training and educational films for the military and defense industries, propaganda and war-themed shorts and features, home front poster art, and the stunning military unit insignia that provided those serving the in the armed forces with a morale-boosting reminder of home. The book makes it clear how deeply Walt invested himself in the cause by patriotically placing his studio at the disposal of Uncle Sam. Replete with period graphics, Disney During World War II showcases Walt Disney's largely unheralded sacrifices in the pursuit of Allied victory, showing the inner workings of a wholesome family entertainment studio transformed almost overnight into a war plant where even the studio's stable of established characters were temporarily reinvented as warriors and team-oriented, patriotic American citizens.
An essential piece of Disney history has been largely unreported for eighty years. Soon after the birth of Mickey Mouse, one animator raised the Disney Studio far beyond Walt's expectations. That animator also led a union war that almost destroyed it. Art Babbitt animated for the Disney studio throughout the 1930s and through 1941, years in which he and Walt were jointly driven to elevate animation as an art form, up through Snow White, Pinocchio, and Fantasia. But as America prepared for World War II, labor unions spread across Hollywood. Disney fought the unions while Babbitt embraced them. Soon, angry Disney cartoon characters graced picket signs as hundreds of animation artists went out on strike. Adding fuel to the fire was Willie Bioff, one of Al Capone's wiseguys who was seizing control of Hollywood workers and vied for the animators' union. Using never-before-seen research from previously lost records, including conversation transcriptions from within the studio walls, author and historian Jake S. Friedman reveals the details behind the labor dispute that changed animation and Hollywood forever. The Disney Revolt is an American story of industry and of the underdog, the golden age of animated cartoons at the world's most famous studio.
It is a quiet, uneventful Saturday in Doncaster. Nick Aten, and his best friend Steve Price – troubled seventeen year olds – spend it as usual hanging around the sleepy town, eating fast food and planning their revenge on Tug Slatter, a local bully and their arch-enemy. But by Sunday, Tug Slatter becomes the last of their worries because somehow overnight civilization is in ruins. Adults have become murderously insane – literally. They're infected with an uncontrollable urge to kill the young. Including their own children. As Nick and Steve try to escape the deadly town covered with the mutilated bodies of kids, a group of blood-thirsty adults ambushes them. Just a day before they were caring parents and concerned teachers, today they are savages destroying the future generation. Will Nick and Steve manage to escape? Is their hope that outside the Doncaster borders the world is 'normal' just a childish dream? Blood Crazy, first published in 1995, is a gripping, apocalyptic horror from Simon Clark.
Long considered a figurehead of family values and wholesome adolescence, the Disney franchise has faced increasing criticism over its gendered representations of children in film, its stereotypical representations of race and non-white cultures, and its emphasis on the heterosexual couple. Against a historical backdrop of studio history, audience reception, and the industrial-organizational apparatus of Disney media, Seán Harrington examines the Disney classics through a psychoanalytical framework to explore the spirit of devotion, fandom, and frenzy that is instilled in consumers of Disney products and that underlie the fantasy of the Magic Kingdom. This compelling study demystifies the unsettling cleanliness and pretensions to innocence that the Disney brand claims to hold.
Swamped in World War II with requests from the military to use the world-famous Disney characters in creating distinctive unit insignia, the Disney Studio had to set up a special five-man crew of artists to meet the demand for designs. "They meant a lot to the men who were fighting," said Walt Disney. "How could you turn them down?" Imaginative, colorful, and well-executed, these insignia occupy a unique place in Disney history. Over a five-year period, as a contribution to the war effort, the Studio created some 1,200 insignia, the best of which have been selected for this volume - the first comprehensive survey of this relatively unknown body of Disney art. For the most part, these delightful designs exist today only as fifty-year-old color transparencies or black-and-white photos in the Disney Archives, the originals having been sent directly to their respective units during the war. Nevertheless, period reproductions of the originals can still be found in wartime Disney comic books, on matchbook covers, poster stamps, and, indeed, the leather and woven patches that were inspired by the art - all of which are now very collectible. It is a tribute to the success of the Disney animators in giving believable personalities to "drawings that move" that some well-known cartoon figures were suitable for military service while others were not. For instance, Donald Duck appeared in more than two hundred designs - his famous temper fit him for militant postures - while the lovable, bashful Mickey Mouse was rarely called upon except for home front causes. Where no Disney character quite fit the bill, the studio happily created new ones, as in the case of the well-known symbols for the Flying Tigers, the Mosquito Fleet, and the Seabees. In addition to being of interest to Disney enthusiasts and collectors - imagine, after all these years, opening a treasure trove of forgotten Disney artwork - this book definitely will appeal to military buffs and veterans, especially during the marking of World War II's fiftieth anniversary.
Both a fascinating account of Walt Disney’s own significant artistic creations, from the iconic Mickey Mouse to the groundbreaking Snow White in 1937, and an insightful history of the hugely successful entertainment behemoth he created, from Dumbo to Pixar’s Toy Story, as well as the hugely popular theme parks. But Disney’s dark side is also explored: his disputed parentage; industrial disputes; his work for the FBI; and his anti-Communist and allegedly racist and antisemitic views. The company Disney built is today stronger than ever, encompassing not only the ongoing legacy of Disney animation, but also acting as the guardian of other well-loved creative endeavours, such as Pixar, The Muppets, Marvel Comics and now Star Wars. Sections include ‘Before Mickey: The Road to the Mouse House’, covering from 1901 to 1945 – the creation of Mickey Mouse, the creation of the world’s first full-length animated feature film, the Golden Age of animation and Disney’s help for the American war effort, despite labour disputes; ‘Disney Studios: The Disney Genius’ – difficult times, theme parks and television, live-action movies, including Mary Poppins; ‘Animation’s Second Coming’, from the Lady and the Tramp to The Sword in the Stone, and Walt Disney’s death; ‘After Walt: The Disney Legacy’ – family attempts to keep the studio afloat, decline and the loss of lustre in the 1970s and 1980s; ‘Disney Resurgent’ – a triumphant rebirth under new management with Who Framed Roger Rabbit? The Lion King and other blockbuster hits; ‘From Eisner to Iger’ – the corporate battle for the soul of Disney; ‘Disney Goes Digital’ – from Pixar to Star Wars, via Marvel Comics and The Muppets, Disney buyy up other studios, themselves often enough inspired by the original.
Draws on extensive research and hundreds of interviews to document the fierce executive battle for control of the foremost entertainment company.
DISNEY GOES TO WAR World War II had a profound impact on Walt Disney and his Studio. When the Nazi juggernaut rolled across Europe, theater doors were shuttered causing Disney's ledger to turn from black to red. Prewar, Disney films were distributed to 55 countries. By 1944, the majority of the company's revenue was being generated by just three countries. Disney adapted by having his Studio declared a war plant. Government work sustained the Studio for the war's duration, and Walt Disney, ever the patriot, offered his services at cost or for free. The classic fairy tales were quickly replaced with military training films, and propaganda films the Studio's Publicity Department labeled "psychological productions". Disney characters also pitched in on the home front. Mickey and the rest of the gang promoted war bonds, savings stamps, rationing, victory gardens, and salvage campaigns. And as new fighting units were formed, Disney artists fulfilled 1,200 requests for combat insignia sent in by servicemen looking for a familiar reminder of life back home. Service With Character explores this fascinating history of the Disney Studios. As one newspaper writer reported: "How fortunate America is to have Walt [Disney] on the job today. He's a...genius for whom the Axis would gladly give a dozen crack divisions."