Posts Tagged ‘Walt Disney’
“Animation isn’t the illusion of life; it is life”*…
A unsung pioneer…
A decade before Walt Disney Productions came into existence, making its name synonymous with animated films, there was another pioneer of the art form — Lotte Reiniger.
Reiniger’s filmmaking career spanned 60 years, during which she created more than 70 silhouette animation films, including versions of “Cinderella,” “Puss in Boots” and “Hansel and Gretel.” She’s perhaps best known for her 1926 silent film “The Adventures of Prince Achmed,” a fantastical adaptation of “The Arabian Nights” that was among the first full-length animated features ever made [and the oldest still in existence]…
Beginning with “Prince Achmed,” she also created an early version of the multiplane camera, which gave two-dimensional animation a hitherto unexplored depth, movement and complexity. She called her device a tricktisch, or trick table…

More of Reiniger’s work: The Adventures of Prince Achmed (1926) and a Nivea commercial (1920).
More of Reiniger’s remarkable story: “Overlooked No More: Lotte Reiniger, Animator Who Created Magic With Scissors and Paper” (gift article) from @nytimes, and on Wikipedia.
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As we sit with the shadows, we might recall that it was on this date in 1935 that Mickey’s Garden was released. Directed by Wilfred Jackson, it was the second Mickey cartoon produced in color and the first color appearance of Pluto. It is also, notably, the first short on which Ollie Johnston (a cleanup artist at the time, ultimately, one of Disney’s “Nine Old Men“) worked.
“The Surrealist tradition in all these arts is united by the idea of destroying conventional meanings, and creating new meanings or counter-meanings through radical juxtaposition (the ‘collage principle’)”*…
California-based artist Bill Domonkos takes old photos and footage and turns them into surreal, witty GIF mash-ups. Flashbak reports…
As he says of his multimedia collages:
I experiment by combining, altering, editing and reassembling using digital technology, special effects and animation to create a new kind of experience. I am interested in the poetics of time and space—to renew and transform materials, experiences and ideas. The extraordinary thing about cinema is its ability to suggest the ineffable—it is this elusive, dreamlike quality that informs my work…
I think a lot of my work comes into being by chance. It’s all about making visual associations between things I’ve seen in the public domain. The back and forth experimentation of combining different elements usually leads somewhere unexpected…
More– and more wonderful examples: “Artist Creates Brilliant Surreal Animations from Archival Photos and Film,” from @billdomonkos in @aflashbak.
* Susan Sontag, “Happenings: an art of radical juxtaposition“
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As we muse on montage, we might send squawky birthday greetings to Donald Duck; “born” (in that he made his first screen appearance) on this date in 1934 in “The Wise Little Hen.”

“Visualizations act as a campfire around which we gather to tell stories”*…
From home ownership to digital media consumption, climate change to job growth– more, with commentary, at: “10 Charts That Capture How the World Is Changing,” from @rex_woodbury.
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As we ponder patterns, we might recall that it was on this date in 1940 that RKO released Walt Disney’s animated musical anthology Fantasia— eight animated segments set to pieces of classical music conducted by Leopold Stokowski. First released as a theatrical roadshow held in 13 cities across the U.S. between 1940 and 1941, it was acclaimed by critics. But it initially failed to turn a profit owing to World War II’s cutting off distribution to the European market, the film’s high production costs, and the expense of building Fantasound equipment and leasing theatres for the roadshow presentations. That said, since 1942, the film has been reissued multiple times by RKO and Buena Vista Distribution (with its original footage and audio being variously deleted, modified, or restored in each version). To date, when adjusted for inflation, Fantasia is the 23rd highest-grossing film of all time in the U.S.
“The basic underlying problem does not entail misbehavior or incompetence but rather stems from the nature of the provision of labor-intensive services”*…

Why is it that stuff– clothing, electronics, toys– keep getting cheaper, while services– healthcare, education, child care– continue to rise on price?
Agatha Christie’s autobiography, published posthumously in 1977, provides a fascinating window into the economic life of middle-class Britons a century ago. The year was 1919, the Great War had just ended, and Christie’s husband Archie had just been demobilized as an officer in the British military.
The couple’s annual income was around around £700 ($50,000 in today’s dollars)—£500 ($36,000) from his salary and another £200 ($14,000) in passive income.
hey rented a fourth-floor walk-up apartment in London with four bedrooms, two sitting rooms, and a “nice outlook on green.” The rent was £90 for a year ($530 per month in today’s dollars). To keep it tidy, they hired a live-in maid for £36 ($2,600) per year, which Christie described as “an enormous sum in those days.”
The couple was expecting their first child, a girl, and they hired a nurse to look after her. Still, Christie didn’t consider herself wealthy.
“Looking back, it seems to me extraordinary that we should have contemplated having both a nurse and a servant,” Christie wrote. “But they were considered essentials of life in those days, and were the last things we would have thought of dispensing with. To have committed the extravagance of a car, for instance, would never have entered our minds. Only the rich had cars.”…
By modern standards, these numbers seem totally out of whack. An American family today with a household income of $50,000 might have one or even two cars. But they definitely wouldn’t have a live-in maid or nanny. Even if it were legal today to offer someone a job that paid $2,600 per year, nobody would take it.
The price shifts Christie observed during her lifetime continued to widen after her death…
As you can see, cars aren’t the only things that get cheaper over time. In the last 30 years, clothing, children’s toys, and televisions have all gotten steadily cheaper as well—as have lots of other products not on the chart.
It’s one of the most important economic mysteries of the modern world. While the material things in life are cheaper than ever, labor-intensive services are getting more and more expensive. Middle-class Americans today have little trouble affording a car, but they struggle to afford a spot in day care. Only the rich have nannies.
Who is to blame? Some paint the government as the villain, blaming excessive regulations and poorly targeted subsidies. They aren’t entirely wrong. But the main cause is something more fundamental—and not actually sinister at all.
Back in the 1960s, the economist William Baumol observed that it took exactly as much labor to play a string quartet in 1965 as it did in 1865—in economics jargon, violinists hadn’t gotten any more productive. Yet the wages of a professional violinist in 1965 were a lot higher than in 1865.
The basic reason for this is that workers in other industries were getting more productive, and that gave musicians bargaining power. If an orchestra didn’t pay musicians in line with economy-wide norms, it would constantly lose talent as its musicians decided to become plumbers or accountants instead. So over time, the incomes of professional musicians have risen.
Today economists call this phenomenon “Baumol’s cost disease,” and they see it as one of the most important forces driving the price trends in my chart above. I think it’s unfortunate that this bit of economics jargon is framed in negative terms. From my perspective as a parent, it might be a bummer that child care costs are rising. But my daughter’s nanny probably doesn’t see it that way—the Baumol effect means her income goes up…
A thoughtful consideration of a counterintuitive phenomenon: “Why Agatha Christie could afford a maid and a nanny but not a car,” from Timothy B. Lee (@binarybits) in Full Stack Economics (@fullstackecon).
From Baumol himself…
Briefly, the book’s central arguments are these:
1. Rapid productivity growth in the modern economy has led to cost trends that divide its output into two sectors, which I call “the stagnant sector” and “the progressive sector.” In this book, productivity growth is defined as a labor-saving change in a production process so that the output supplied by an hour of labor increases, presumably significantly (Chapter 2).
2. Over time, the goods and services supplied by the stagnant sector will grow increasingly unaffordable relative to those supplied by the progressive sector. The rapidly increasing cost of a hospital stay and rising college tuition fees are prime examples of persistently rising costs in two key stagnant-sector services, health care and education (Chapters 2 and 3).
3. Despite their ever increasing costs, stagnant-sector services will never become unaffordable to society. This is because the economy’s constantly growing productivity simultaneously increases the community’s overall purchasing power and makes for ever improving overall living standards (Chapter 4).
4. The other side of the coin is the increasing affordability and the declining relative costs of the products of the progressive sector, including some products we may wish were less affordable and therefore less prevalent, such as weapons of all kinds, automobiles, and other mass-manufactured products that contribute to environmental pollution (Chapter 5).
5. The declining affordability of stagnant-sector products makes them politically contentious and a source of disquiet for average citizens. But paradoxically, it is the developments in the progressive sector that pose the greater threat to the general welfare by stimulating such threatening problems as terrorism and climate change. This book will argue that some of the gravest threats to humanity’s future stem from the falling costs of these products, rather than from the rising costs of services like health care and education (Chapter 5).
The central purpose of this book is to explain why the costs of some labor-intensive services—notably health care and education—increase at persistently above-average rates. As long as productivity continues to increase, these cost increases will persist. But even more important, as the economist Joan Robinson rightly pointed out so many years ago, as productivity grows, so too will our ability to pay for all of these ever more expensive services.
William J. Baumol, from the Introduction to The Cost Disease: Why Computers Get Cheaper and Health Care Doesn’t
* William J. Baumol
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As we interrogate inflation, we might recall that it was in this date in 1933 that United Artists released the animated short “Three Little Pigs,” part of the Silly Symphonies series produced by Walt Disney (though some film historians give the date as May 25). A hit, it won the Academy Award for Best Animated Short Film. In 1994 a poll of 1,000 animators voted it #11 of the 50 Greatest Cartoons of all time.
Its song, “Who’s Afraid of the Big Bad Wolf,” written by Frank Churchill, was a huge hit and was often used as an anthem during the Great Depression.
“Some people worry that artificial intelligence will make us feel inferior, but then, anybody in his right mind should have an inferiority complex every time he looks at a flower”*…
Humor is said to be the quintessential humor capacity, last thing that AI could– will?– conquer…
New Yorker cartoons are inextricably woven into the fabric of American visual culture. With an instantly recognizable formula — usually, a black-and-white drawing of an imagined scenario followed by a quippy caption in sleek Caslon Pro Italic — the daily gags are delightful satires of our shared human experience, riffing on everything from cats and produce shopping to climate change and the COVID-19 pandemic. The New Yorker‘s famous Cartoon Caption Contest, which asks readers to submit their wittiest one-liners, gets an average 5,732 entries each week, and the magazine receives thousands of drawings every month from hopeful artists.
What if a computer tried its hand at the iconic comics?
Playing on their ubiquity and familiarity, comics artist Ilan Manouach and AI engineer Ioannis [or Yiannis] Siglidis developed the Neural Yorker, an artificial intelligence (AI) engine that posts computer-generated cartoons on Twitter. The project consists of image-and-caption combinations produced by a generative adversarial network (GAN), a deep-learning-based model. The network is trained using a database of punchlines and images of cartoons found online and then “learns” to create new gags in the New Yorker‘s iconic style, with hilarious (and sometimes unsettling) results…
Comics artist Ilan Manouach (@IlanManouach) and AI engineer Yiannis Siglidis created The Neural Yorker: “Computer-Generated New Yorker Cartoons Are Delightfully Weird.”
For comparison’s sake, see “142 Of The Funniest New Yorker Cartoons Ever.”
* Alan Kay
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As we go for the guffaw, we might recall that it was on this date in 1922 that the first chapter in Walt Disney’s career as an animator came to a close when he released the 7th and next-to-last “Laugh-O-Gram” cartoon adaption of a fairy tale, “Jack the Giant Killer.”
Disney’s first animated films began in 1920 as after-work projects when Disney was a commercial artist for an advertising company in Kansas City. He made these cartoons by himself and with the help of a few friends.
He started by persuading Frank Newman, Kansas City’s leading exhibitor, to include short snippets of animation in the series of weekly newsreels Newman produced for his chain of three theaters. Tactfully called “Newman Laugh-O-grams,” Disney’s footage was meant to mix advertising with topical humor…
The Laugh-O-grams were a hit, leading to commissions for animated intermission fillers and coming attractions slides for Newman’s theaters. Spurred by his success, the 19-year-old Disney decided to try something more ambitious: animated fairy tales. Influenced by New York animator Paul Terry’s spoofs of Aesop’s Fables, which had premiered in June 1920, Disney decided not only to parody fairy-tale classics but also to modernize them by having them playing off recent events. With the help of high school student Rudy Ising, who later co-founded the Warner Brothers and MGM cartoon studios, and other local would-be cartoonists, Disney [made 7 animated shorts, of which “Jack, the Giant Killer” was the penultimate].
Walt Disney’s Laugh-O-grams
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