Ainda esperando alguma boa alma escanear e colocar na internet o livro que o tio Sergei escreveu sobre o tio Walt, porque tá meio difícil pagar de 100 a 200 dólares por aí, se bem que entendo perfeitamente, não tenho coragem de colocar nenhum de meus livros-relíquia para ser estuprado por um scanner. Como éContinuar lendo “From Walt with Love”
“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)”
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.
“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.”
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)”
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)”
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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)”
Isso é o que acontece quando neguinho resolve fazer uma sequência em live-action do Fantasia do Disney. On a more practical level, the multimedia nature of film has made it the ideal means for achieving a synthesis of poetry, music, movement and drama. Nevertheless, only a handful of filmmakers has attempted the kind of fusionContinuar lendo “24 Frames: The Red Shoes Ballet”
Que fofo. Menos mal não ser Bring me the head of Alfredo Garcia.
Franz Peter Schubert nascia há 211 anos.
AQUI um blog especializado em filmes com gente bêbada. Clássico. Dean Martin em Onde Começa o Inferno (Rio Bravo, 1959) Dumbo (1941) Karen Allen em Caçadores da Arca Perida (Raiders of the Lost Ark, 1980) Dan Dureya em Anjo Diabólico (Black Angel, 1946) Albert Finney em À Sombra do Vulcão (Under the Volcano, 1984)
Ao centenário de James MacDonald, dublador de Mickey, Tico & Teco e companhia
Centenário de Wilfred Jackson, o homem por trás de muitas das obras primas da Disney.
Tenha respeito, a mulher compôs a música do lobo mau!
Participação em Você Já Foi À Bahia? (The Three Caballeros, 1944)