Animating to music seemed to be a lost art in televisionanimation until two producers at Disney decided to bring it back. Tony Craig explains how he and his animation partner re-created the days of yore.
Tagged With: Music
Robin Allan takes a second look at Make Mine Music, a feature film which falls almost exactly in the middle of Disney's animation career, and utilizes a number of animation and musical styles.
At the intersection of pre-cinematic devices and modern technology is the work of Japan's Toshio Iwai. Deanna Morse describes the work of this innovative multimedia artist.
* Monday, October 26. San Francisco, California, U.S.A.
The Ideas in Animation series continues at Minna Street Gallery with two performances at 7:30 and 9:30 p.m. Nik Phelps and the Sprocket Ensemble, with guest musician Jana Herzen will perform live music to animated films by Meredith Root, Martha Colburn and Michael Rudnik. Admission is $10.00 general, $7.00 for students. For information and reservations call (415) 681-3189.
Bbel Neubauer divulges her creative process and discusses the production of Roots, her drawn-on-film short abstract work. Includes a Quicktime movie.
Independent German filmmaker Kirsten Winter describes her unique pre-production process of working with composer Elena Kats-Chernin, while developing her visuals.
Amin Bhatia recounts a day in his life as an "electronic composer" for animated TV shows, explaining his tools and techniques.
Daniel Goldmark shows how Carl Stalling, who may have been the most skilled and clever composer of cartoon music Hollywood ever had, used music to create gags and help tell a story at the same time.
From 1929 to 1939, Disney's Silly Symphonies united animation with a rich array of music, including such songs as "Who's Afraid of the Big Bad Wolf." J.B. Kaufman reports.
William Moritz gives a quick and dazzling historical overview attempts to create visual music using "color organs."