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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.
The range of Walt Disney's accomplishments is remarkable. He is considered the most successful filmmaker in history. He won 32 Academy Awards, far more than those of any other filmmaker. He revolutionized the amusement park and resort industries, and his theme parks have been praised as among the most outstanding urban designs in the United States. As Ward Kimball, one of Walt Disney's most prominent animators, once said, "At the bottom line Walt was a down-to-earth farmer's son who just happened to be a genius." Walt Disney spent his formative years in Missouri. Some of the direct influences of these years on his career are documented in this book. "Snow White and the Seven Dwarfs," the first feature-length animated film to be produced, was inspired by a black-and-white, live-action silent film version of "Snow White" that he viewed as a teen-ager in Kansas City. A theatrical production of "Peter Pan" that he saw as a child in Marceline, Mo., led to his own animated version of the story. Born in Chicago in December 1901, he moved with his family to a farm near Marceline, where he lived from ages 4 to 9. "To tell the truth," Walt Disney once wrote, "more things of importance happened to me in Marceline than have happened since--or are likely to in the future." The town of Marceline was the inspiration for many features of future Disney theme parks, and the pastoral setting he lived in there is also reflected in many of his films. Except for a couple of years spent in Chicago and France, Disney lived in Kansas City from 1911 to 1923. During his years in Kansas City he learned the discipline that would enable him to persevere and prevail through the many hardships he experienced as a struggling filmmaker. It was in Kansas City that he trained to become a commercial artist and an animator, and Kansas City was the location of his first film production studio, Laugh-O-gram Films. Walt Disney's Missouri not only tells the story of the young Disney growing up, but it also paints a picture of the Kansas City he knew. With the bankruptcy of Laugh-O-gram Films, Disney moved to California, drawing with him many of his Kansas City colleagues, who would eventually win fame in animation themselves. This richly illustrated book describes Disney's Missouri years and chronicles his many connections and returns to the state until his death in 1966. The book also details two little-know projects in Missouri that Disney seriously considered in his later years--theme parks in his "hometown," Marceline, and in St. Louis. As his daughter Diane Disney Miller says in the foreword to the book, Walt Disney was "truly a Missourian."
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.
A history of Walt Disney's cartoons set in Latin America as part of the Good Neighbor program initiated by Nelson Rockefeller during the early 1940s.
Disney’s Twisted Tales meets the Half Upon a Time trilogy in this “lively” (School Library Journal) first book of a new fantasy series following a young girl who discovers that fairy tale characters are real when she becomes the target of vindictive princesses who want their Happily Ever Afters. Cia Anderson hasn’t slept in ten days, but she doesn’t feel one bit tired. She knows that something is up, even if no one but her best friend believes her. Hundreds of pairs of shoes have appeared in her locker, small woodland animals are trailing her, and the only boy she’s ever had a crush on has been quarantined with a mysterious illness. There’s even talk of closing her middle school. Something strange is going on. Cia discovers that she has accidentally upset some fairy tale characters who are trying to find their happily ever afters in the modern world. Desperate to set things right, Cia enlists the help of Cinderella’s stepsister, gets kidnapped by Snow White’s dwarves, and makes a deal that she might regret with the Evil Queen—all while trying to stay one step ahead of the furious princesses who want her dead. Turns out there’s nothing meaner than a fairy tale character who can’t find her prince charming.
From the bestselling author of Rise of the Rocket Girls, the untold, "richly detailed" story of the women of Walt Disney Studios, who shaped the iconic films that have enthralled generations (Margot Lee Shetterly, New York Times bestselling author of Hidden Figures). From Snow White to Moana, from Pinocchio to Frozen, the animated films of Walt Disney Studios have moved and entertained millions. But few fans know that behind these groundbreaking features was an incredibly influential group of women who fought for respect in an often ruthless male-dominated industry and who have slipped under the radar for decades. In The Queens of Animation, bestselling author Nathalia Holt tells their dramatic stories for the first time, showing how these women infiltrated the boys' club of Disney's story and animation departments and used early technologies to create the rich artwork and unforgettable narratives that have become part of the American canon. As the influence of Walt Disney Studios grew -- and while battling sexism, domestic abuse, and workplace intimidation -- these women also fought to transform the way female characters are depicted to young audiences. With gripping storytelling, and based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation reveals the vital contributions these women made to Disney's Golden Age and their continued impact on animated filmmaking, culminating in the record-shattering Frozen, Disney's first female-directed full-length feature film. A Best Book of 2019: Library Journal, Christian Science Monitor, and Financial Times
This biography of the man behind the magic reconciles the private 'monster' with the artistic genius of popular culture by showing that the disturbing problems of his own life provided the rich, dark side of the animated movies.
Besides Walt Disney, no one seemed more key to the development of animation at the Disney Studios than Ward Kimball (1914–2002). Kimball was Disney’s friend and confidant. In this engaging, cradle-to-grave biography, award-winning author Todd James Pierce explores the life of Ward Kimball, a lead Disney animator who worked on characters such as Mickey Mouse, Donald Duck, Jiminy Cricket, the Cheshire Cat, and the Mad Hatter. Through unpublished excerpts from Kimball’s personal writing, material from unpublished interviews, and new information based on interviews conducted by the author, Pierce defines the life of perhaps the most influential animator of the twentieth century. As well as contributing to classics such as Snow White and the Seven Dwarfs and Pinocchio, from the late 1940s to the early 1970s, Kimball established a highly graphic, idiosyncratic approach to animation alongside the studio’s more recognizable storybook realism. In effect, Ward Kimball became the only animator to run his own in-studio production team largely outside of Walt Disney’s direction. In the 1950s and 1960s, he emerged as a director and producer of his own animation, while remaining inside Disney’s studio. Through Kimball, the studio developed a series of nonfiction animation programs in the 1950s that members of Congress pointed to as paving the way for NASA. The studio also allowed Kimball’s work to abandon some ties to conventional animation, looking instead to high art and graphic design as a means of creating new animated forms, which resulted in films that received multiple Academy Award nominations and two awards. Throughout his life, Kimball was a maverick animator, an artist who helped define the field of American animation, and a visionary who sought to expand the influence of animated films.
For many, the middle ages depicted in Walt Disney movies have come to figure as the middle ages, forming the earliest visions of the medieval past for much of the contemporary Western (and increasingly Eastern) imagination. The essayists of The Disney Middle Ages explore Disney's mediation and re-creation of a fairy-tale and fantasy past, not to lament its exploitation of the middle ages for corporate ends, but to examine how and why these medieval visions prove so readily adaptable to themed entertainments many centuries after their creation. What results is a scrupulous and comprehensive examination of the intersection between the products of the Disney Corporation and popular culture's fascination with the middle ages.
The first comprehensive history of American Jewish philanthropy and its influence on democracy and capitalism For years, American Jewish philanthropy has been celebrated as the proudest product of Jewish endeavors in the United States, its virtues extending from the local to the global, the Jewish to the non-Jewish, and modest donations to vast endowments. Yet, as Lila Corwin Berman illuminates in The American Jewish Philanthropic Complex, the history of American Jewish philanthropy reveals the far more complicated reality of changing and uneasy relationships among philanthropy, democracy, and capitalism. With a fresh eye and lucid prose, and relying on previously untapped sources, Berman shows that from its nineteenth-century roots to its apex in the late twentieth century, the American Jewish philanthropic complex tied Jewish institutions to the American state. The government’s regulatory efforts—most importantly, tax policies—situated philanthropy at the core of its experiments to maintain the public good without trammeling on the private freedoms of individuals. Jewish philanthropic institutions and leaders gained financial strength, political influence, and state protections within this framework. However, over time, the vast inequalities in resource distribution that marked American state policy became inseparable from philanthropic practice. By the turn of the millennium, Jewish philanthropic institutions reflected the state’s growing investment in capitalism against democratic interests. But well before that, Jewish philanthropy had already entered into a tight relationship with the governing forces of American life, reinforcing and even transforming the nation’s laws and policies. The American Jewish Philanthropic Complex uncovers how capitalism and private interests came to command authority over the public good, in Jewish life and beyond.