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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
From the earliest origins of animated imagery, the colorful link between paper and screen was created by legions of female artists working on the slick surface of celluloid sheets. With calligraphic precision and Rembrandtesque mastery, these women painstakingly brought pencil drawings to vibrant, dimensional life. Yet perhaps as a reflection of the transparent canvas they created on, the contributions and history of these animation artists have remained virtually invisible and largely undocumented, until now. Walt Disney's pioneering efforts in animation transformed novelty cartoons into visual masterpieces, establishing many "firsts" for women within the entertainment industry along the way. Focusing on talent, Disney sought female story specialists and concept artists to expand the scope and sensibility of his storytelling. Upon establishing the first animation-training program for women, ink pens were traded for pencils as ladies made their way into the male-laden halls of animation. World War II further opened roles traditionally held by men, and women quickly progressed into virtually every discipline within animation production. Disney's later development of the Xerox process and eventual digital evolution once again placed women at the forefront of technological advancements applied to animated storytelling. In her latest landmark book, Ink & Paint: The Women of Walt Disney's Animation, author Mindy Johnson pulls back the celluloid curtain on the nearly vanished world of ink pens, paintbrushes, pigments, and tea. From the earliest black-and-white Alice Comedies to the advent of CAPS and digital animation, meet the pioneering women who brought handrendered animated stories to vibrant, multicolored life at Walt Disney Studios and beyond. Extensively researched with the full support of the entire Walt Disney Studios archival resources, plus a multitude of private collections, firsthand accounts, newly discovered materials, and production documentation, as well as never-before-seen photography and artwork, this essential volume redefines the collective history of animation.
An in-depth view of the way popular female stereotypes were reflected in—and were shaped by—the portrayal of women in Disney’s animated features. In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found. “A fascinating compilation of essays in which [Davis] examined the way Disney has treated female characters throughout its history.” —PopMatters
As critical interest has grown in the unique ways in which art animation explores and depicts subjective experience - particularly in relation to desire, sexuality, social constructions of gender, confessional modes, fantasy, and the animated documentary - this volume offers detailed analysis of both the process and practice of key contemporary filmmakers, while also raising more general issues around the specificities of animation. Combining critical essays with interview material, visual mapping of the creative process, consideration of the neglected issue of how the use of sound differs from that of conventional live-action, and filmmakers' critiques of each others' work, this unique collection aims to both provoke and illuminate via an insightful multi-faceted approach.
Based on Mindy Johnson's critically acclaimed Disney Editions title, Ink & Paint: The Women of Walt Disney's Animation, this nonfiction picture book is a fun and inspiring look at many of the amazing women who have worked at Disney Animation over the years-from Story Artists, to Animators to Inkers and Painters, all with unique personalities and accomplishments, such as becoming a record-holding pilot, or designing Hollywood monsters, or creating an international club for tall people!
She Animates examines the work of twelve female animation directors in the Soviet Union and Russia, who have long been overlooked by film scholars and historians. Our approach examines these directors within history, culture, and industrial practice in animation. In addition to making a case for including these women and their work in the annals of film and animation history, this volume also makes an argument for why their work should be considered part of the tradition of women’s cinema. We offer textual analysis that focuses on the changing attitudes towards both the woman question and feminism by examining the films in light of the emergence and evolution of a Soviet female subjectivity that still informs women’s cinema in Russia today.
Some of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood's marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especially at the emergence of the art form early in the twentieth century. In Drawing the Line, veteran animator Tom Sito chronicles the efforts of generations of working men and women artists who have struggled to create a stable standard of living that is as secure as the worlds their characters inhabit. The former president of America's largest animation union, Sito offers a unique insider's account of animators' struggles with legendary studio kingpins such as Jack Warner and Walt Disney, and their more recent battles with Michael Eisner and other Hollywood players. Based on numerous archival documents, personal interviews, and his own experiences, Sito's history of animation unions is both carefully analytical and deeply personal. Drawing the Line stands as a vital corrective to this field of Hollywood history and is an important look at the animation industry's past, present, and future. Like most elements of the modern commercial media system, animation is rapidly being changed by the forces of globalization and technological innovation. Yet even as pixels replace pencils and bytes replace paints, the working relationship between employer and employee essentially remains the same. In Drawing the Line, Sito challenges the next wave of animators to heed the lessons of their predecessors by organizing and acting collectively to fight against the enormous pressures of the marketplace for their class interests -- and for the betterment of their art form.
Voice Over for Animation takes animation and voice-over students and professionals alike through the animated voice-over world. The book provides information, exercises, and advice from professional voice-over artists. Now you can develop your own unique characters, and learn techniques to exercise your own voice gain the versatility you need to compete. You can also learn how to make a professional sounding demo CD, and find work in the field. The accompanying downloadable resources are professionally recorded, and feature: scripts, Animation Talent Agent interviews, Casting Director interviews and Interviews with Animation Voice-Over Artists like Nancy Cartwright (Bart, The Simpsons) and Cathy Cavadini (Blossom, Power Puff Girls) and Bill Farmer (Goofy). This is an invaluable resource for animators and voice-over artists.
The early twenty-first century has seen an explosion of animation. Cartoon characters are everywhere—in cinema, television, and video games and as brand logos. There are new technological objects that seem to have lives of their own—from Facebook algorithms that suggest products for us to buy to robots that respond to human facial expressions. The ubiquity of animation is not a trivial side-effect of the development of digital technologies and the globalization of media markets. Rather, it points to a paradigm shift. In the last century, performance became a key term in academic and popular discourse: The idea that we construct identities through our gestures and speech proved extremely useful for thinking about many aspects of social life. The present volume proposes an anthropological concept of animation as a contrast and complement to performance: The idea that we construct social others by projecting parts of ourselves out into the world might prove useful for thinking about such topics as climate crisis, corporate branding, and social media. Like performance, animation can serve as a platform for comparisons of different cultures and historical eras. Teri Silvio presents an anthropology of animation through a detailed ethnographic account of how characters, objects, and abstract concepts are invested with lives, personalities, and powers—and how people interact with them—in contemporary Taiwan. The practices analyzed include the worship of wooden statues of Buddhist and Daoist deities and the recent craze for cute vinyl versions of these deities, as well as a wildly popular video fantasy series performed by puppets. She reveals that animation is, like performance, a concept that works differently in different contexts, and that animation practices are deeply informed by local traditions of thinking about the relationships between body and soul, spiritual power and the material world. The case of Taiwan, where Chinese traditions merge with Japanese and American popular culture, uncovers alternatives to seeing animation as either an expression of animism or as “playing God.” Looking at the contemporary world through the lens of animation will help us rethink relationships between global and local, identity and otherness, human and non-human.