Top dúzia em honra ao Centenário de Chuck Jones

What’s Opera, Doc? (1957) Duck Amuck (1953) One Froggy Evening (1955) Now Hear This (1963) Rabbit of Seville (1950) Horton Hears a Who! (1970) Duck! Rabbit, Duck! (1953) The Dot and the Line: A Romance in Lower Mathematics (1965) The Scarlet Pumpernickel (1950) Feed the Kitty (1952) Broom-Stick Bunny (1956) The Wearing of the GrinContinuar lendo “Top dúzia em honra ao Centenário de Chuck Jones”

24 Frames: What’s Opera Doc? (Chuck Jones, 1957)

Elmer, the Wabitt-Hunter. As the critic Daniel Goldmark observes, ‘Simply placing opera into an animated medium is intrinsically humorous, because it violates cultural tradition – we laugh at the juxtaposition of high and low.’ Yet, What’s Opera, Doc? also has a political subtext, one that Walt Disney Productions had seen fit to avoid in 1941,Continuar lendo “24 Frames: What’s Opera Doc? (Chuck Jones, 1957)”

This is chameleon country!

*Rango (Gore Verbinski, 2011) No chameleon can live with comfort on a tartan. – Antic Hay Fato: Mr Huxley se dava muito bem com os camaleões da sua casa no deserto de Mojave. Nota: Teve uma época em sua vida que o Thompson usava o pseudônimo Aldous Miller-Mencken, em homenagem à sua santíssima trindade deContinuar lendo “This is chameleon country!”

24 Frames: The Pastoral Symphony (Fantasia, Hamilton Luske / Jim Handley / Ford Beebe, 1940)

“Perhaps Bach and Beethoven are strange bedfellows for Mickey Mouse,” he wrote, “but it’s all been a lot of fun, and I want to thank Leopold Stokowski, Deems Taylor, and all my coworkers for holding my head up when the water got too deep.” The cultural waters were deepest in the short film animated toContinuar lendo “24 Frames: The Pastoral Symphony (Fantasia, Hamilton Luske / Jim Handley / Ford Beebe, 1940)”

Ferdinand the Bull (Dick Rickard, 1938)

We have now seen how The Story of Ferdinand, superficially an innocent text, does in fact prove threatening and subversive to fascist Spain and Nazi Germany. An adequate reading done of this book today is a reading that can recover its lost critical meaning. By situating the story in its correct historical context and in juxtaposing the illustrations in the book with the actual images of the war, we discovered the anti fascist/pacifist undertones in the story validated through our secondary reader status as we were able to unveil the overreaching political anxieties and understand how the analysis of the images have shown why this book became the object of censorship and book burning, proving the text significant.
The Story of Ferdinand persists and endures over the years because in its images is a space in which the reader, be it an adult or child, can go back to again and again, finding something new, yet familiar, each time.

24 Frames: Toccata and Fugue in D Minor (Fantasia, Samuel Armstrong, 1940)

“You will be able to SEE the music and HEAR the picture,” said Walt Disney of his hopes for Fantasia; and you can read, in excerpts from the transcripts of their story meetings, how Disney and Stokowski and their associates worked toward achieving that aim. In a story meeting on the Toccata and Fugue held on Tuesday afternoon, November 8, 1938, John McLeish, a story artist with the manner of John Barrymore (his stentorian tones can be heard narrating the opening of Dumbo), began talking about the contrast between the screen and the music.” In the Fugue, suggested McLeish, why not “picture a huge form moving slowly against a counterpoint in the music? Or just the opposite, when you have a slow, heavy chord, picture little, light forms playing against that.”

24 Frames: The Sorcerer’s Apprentice (Fantasia, James Algar, 1940)

Der Zauberlehrling The Sorcerer’s Apprentice Johann Wolfgang von Goethe Translation by Brigitte Dubiel Hat der alte Hexenmeister Good! The sorcerer, my old master sich doch einmal wegbegeben! left me here alone today! Und nun sollen seine Geister Now his spirits, for a change, auch nach meinem Willen leben! my own wishes shall obey! Seine Wort’Continuar lendo “24 Frames: The Sorcerer’s Apprentice (Fantasia, James Algar, 1940)”

24 Frames: Night on Bald Mountain / Ave Maria (Wilfred Jackson, 1940)

The Last Number in Fantasia is a combination of two pieces of music utterly different in construction and mood, whose synergism was intended as a dramatic example of the struggle between the profane and the sacred. The first is Night on Bald Mountain, a tone poem by Modest Moussorgsky. The second is Ave Maria, byContinuar lendo “24 Frames: Night on Bald Mountain / Ave Maria (Wilfred Jackson, 1940)”

24 Frames: The Rite of Spring (Fantasia, Bill Roberts / Paul Satterfield, 1940)

Related articles Clair de Lune, A Deleted Section of the 1940 Disney Film Fantasia 24 Frames: Dance of the Hours (Fantasia, Norman Ferguson / T. Hee, 1940)

24 Frames: Dance of the Hours (Fantasia, Norman Ferguson / T. Hee, 1940)

Isso é o que acontece quando resolve fazer uma sequência em animação de Gold Diggers of 1935 do Busby Berkeley com o Ballet Russo de Monte Carlo. “We’re are caricature,” said Walt Disney at another story conference. Indeed, he called his animated films “a caricature of life,” and he explained, “Animation is different from theContinuar lendo “24 Frames: Dance of the Hours (Fantasia, Norman Ferguson / T. Hee, 1940)”

Centenário de Maurice Noble: Top-dúzia

1- Now Hear This (Chuck Jones/Maurice Noble, 1962) 2- The Dot and the Line: A Romance in Lower Mathematics Chuck Jones/Maurice Noble, 1965) 3- Martian Through Georgia (Chuck Jones/Maurice Noble/Abe Levitow, 1962) 4- Nelly’s Folly (Chuck Jones/Maurice Noble/Abe Levitow, 1961) 5- The Bear That Wasn’t (Chuck Jones/Maurice Noble, 1967) 6- A Sheep in the DeepContinuar lendo “Centenário de Maurice Noble: Top-dúzia”

The Cheshire Cat

Lógico que quero um gato ronronando feito o Stephen Fry 24 horas ao dia, mas o problema do Cheshire Cat é que apesar da voz ultra charmosa e com isso Fry proporcionar a melhor personalidade do gato desde sempre, em essência ele foi totalmente aniquilado e ninguém aniquila o melhor e mais extraordinário personagem deContinuar lendo “The Cheshire Cat”

King of the Mardi Gras (1935)

Jack Mercer fez pelo Popeye o que Mae Questel fizera por Betty Boop e até mesmo por Olívia Palito. Hoje é o centenário do dublador e roteirista que deu alma ao marinheiro comedor de espinafre dos anos 30 aos anos 70. Nota: Por que espinafre? Por que não brócolis? Convenhamos, dá para se alimentar fácilContinuar lendo “King of the Mardi Gras (1935)”

Sou eu que estou ficando velha…

… ou minha cota de paciência com histeria coletiva já passou? Às vezes penso estar no meio das bruxas de Salem. Como assim um filmeco desses em três semanas já passou a arrecadação de O Retorno do Rei!?! Só ontem consegui ir assití-lo porque eu não estava com a mínima vontade de vê-lo e atéContinuar lendo “Sou eu que estou ficando velha…”

Os Filmes Bacanas de Cada Ano que o Cinema Viveu: 1961

Donald and the Wheel (Hamilton Luske)