In TASCHEN's first volume of one of the most expansive illustrated publications on Disney animation, 1,500 images take us to the beating heart of the studio's "Golden Age of Animation." Derived from the XXL book, this new edition again includes behind-the-scenes photos, story sketches, and cel setups of famous film scenes. It spans each of the...

Twenty years ago, animated features were widely perceived as cartoons for children. Today, though, they encompass an astonishing range of films, styles and techniques. There is the powerful adult drama of Waltz with Bashir; the Gallic sophistication of Belleville Rendez-Vous; the eye-popping violence of Japan's Akira; and the stop-motion whimsy of Wallace & Gromit in The Curse of the Were-Rabbit. Andrew Osmond provides an entertaining and illuminating guide to the endlessly diverse world of animated features, with entries on 100 of the most interesting and important animated films from around the world, from the 1920s to the present day. There are key studio brands such as Disney, Pixar and Dreamworks, but there are also recognised auteur directors such as America's Brad Bird (The Incredibles) and Japan's Hayao Miyazaki (Spirited Away). Technologies such as motion-capture, used in films such as Avatar, blur the distinctions between live-action and animation. Meanwhile, lone artists such as Nina Paley (Sita Sings the Blues) and Bill Plympton (Idiots and Angels) make entire films by themselves. Blending in-depth history and criticism, 100 Animated Feature Films balances the blockbusters with local success stories from Eastern Europe to Hong Kong. There are entries on Dreamworks' Shrek, Pixar's Toy Story, and Disney's The Jungle Book, but you will also find pieces on Germany's silhouette-based The Adventures of Prince Achmed, the oldest surviving animated feature; on the thirty year production of Richard Williams' legendary opus, The Thief and the Cobbler; and on the lost work of Argentina's Quirino Cristiani, who reputedly made the first animated feature in 1917.

Sadly the days of the traditional studio apprenticeship in animation are long gone but this book enables the reader to find the next best thing, watching and observing a Master Animator at work. Become Tony White's personal animation apprentice, and experience the golden era of the great Disney and Warner Brothers studios right in your own home or studio. Tony White's Animation Master Class is uniquely designed to cover the core principles of animated movement comprehensively. It offers a DVD with animated movies and filmed excerpts of the author at his drawing board to illustrate the concepts as the work is being created. Tony White's Animation Master Class offers secrets and unique approaches only a Master Animator could share. The book comes out of the author's six years of real-world professional experience teaching animation, and 30 years of professional experience. Whether you want to become a qualified animator of 2D, 3D, Flash or any other form of animation, Tony White's foundations bring you closer to that goal. The DVD is invaluable, in that readers are not only taught principles and concepts in the book, they are able to see them demonstrated in action in the movies on the DVD.

The all-time classic picture book, from generation to generation, sold somewhere in the world every 30 seconds! Have you shared it with a child or grandchild in your life? For the first time, Eric Carle’s The Very Hungry Caterpillar is now available in e-book format, perfect for storytime anywhere. As an added bonus, it includes read-aloud audio of Eric Carle reading his classic story. This fine audio production pairs perfectly with the classic story, and it makes for a fantastic new way to encounter this famous, famished caterpillar.

Ranging from blockbuster movies to experimental shorts or documentaries to scientific research, computer animation shapes a great part of media communication processes today. Be it the portrayal of emotional characters in moving films or the creation of controllable emotional stimuli in scientific contexts, computer animation’s characteristic artificiality makes it ideal for various areas connected to the emotional: with the ability to move beyond the constraints of the empirical "real world," animation allows for an immense freedom. This book looks at international film productions using animation techniques to display and/or to elicit emotions, with a special attention to the aesthetics, characters and stories of these films, and to the challenges and benefits of using computer techniques for these purposes.

While many live-action films portray disability as a spectacle, "crip animation" (a genre of animated films that celebrates disabled people's lived experiences) uses a variety of techniques like clay animation, puppets, pixilation, and computer-generated animation to represent the inner worlds of people with disabilities. Crip animation has the potential to challenge the ableist gaze and immerse viewers in an alternative bodily experience. In Animated Film and Disability, Slava Greenberg analyzes over 30 animated works about disabilities, including Rocks in My Pockets, An Eyeful of Sound, and A Shift in Perception. He considers the ableism of live-action cinematography, the involvement of filmmakers with disabilities in the production process, and the evocation of the spectators' senses of sight and hearing, consequently subverting traditional spectatorship and listenership hierarchies. In addition, Greenberg explores physical and sensory accessibility in theaters and suggests new ways to accommodate cinematic screenings. Offering an introduction to disability studies and crip theory for film, media, and animation scholars, Animated Film and Disability demonstrates that crip animation has the power to breach the spectator's comfort, evoking awareness of their own bodies and, in certain cases, their social privileges.

Animation has never been so popular. The best animated films have combined the latest technology with creativity and a flair for storytelling and are adored by both children and adults. With films such as Monsters, Inc., Shrek and Toy Story capturing the imagination of moviegoers and critics, animated film is enjoying a resurgence unseen since its golden age in the 30s and 40s. From the earliest full-length feature animation, Disney's Snow White and the Seven Dwarfs, through stop-motion animation and Japanese anime to the advent of CGI, this book takes a critical look at animation through the ages and explores its infinite cinematic possibilities.

This book describes the dubbing process of English-language animated films produced by US companies in the 21st century, exploring how linguistic variation and multilingualism are used to create characters and identities and examining how Italian dubbing professionals deal with this linguistic characterisation. The analysis carried out relies on a diverse range of research tools: text analysis, corpus study and personal communications with dubbing practitioners. The book describes the dubbing workflow and dubbing strategies in Italy and seeks to identify recurrent patterns and therefore norms, as well as stereotypes or creativity in the way multilingualism and linguistic variation are tackled. It will be of interest to students and scholars of translation, linguistic variation, film and media.

Animation has been a staple of the filmmaking process since the early days of cinema. Animated shorts had been produced for decades, but not until 1937 did a major studio venture into animated features when Walt Disney produced Snow White and the Seven Dwarfs. Of the hundreds of animated feature films made since, many have proven their importance over the years while also entertaining generations of audiences. There are also many recent animated movies that promise to become classics in the field. In 100 Greatest American British Animated Films, Thomas S, Hischak looks at the most innovative, influential, and entertaining features that have been produced since the late 1930s—from traditional hand-drawn works and stop-motion films to computer-generated wonders. These movies have been selected not simply because of their popularity or critical acceptance but for their importance. Entries in this volume contain plot information production history critical reaction commentary on the film’s cinematic quality a discussion of the film’s influence voice casts production credits songs sequels, spin-offs, Broadway versions, and television adaptations awards and nominations Each movie is also discussed in the context of its original release as well as the ways in which the film has lived on in the years since. Familiar favorites and lesser-known gems are included, making the book a fascinating journey for both the avid animation fan and the everyday moviegoer. With a sweeping look at more than eight decades of movies, 100 Greatest American and British Animated Films highlights some of the most treasured features of all time.

Despite Toy Story's legacy, it didn't win a single Oscar. Somebody counted every single spot in 101 Dalmatians. There's a lot. Animators stopped working on The Lion King because they were certain it would fail. It made over $900 million. The original Cinderella story is 2,700 years old. The trailer for Lady and the Tramp spoilt the ending. It took 28 years to make The Thief and the Cobbler. Everybody mispronounces Mowgli's name in The Jungle Book. Walt Disney hated Peter Pan. There was meant to be 27 Emotions in Inside Out. Most of Disney's classics like Pinocchio and Bambi made very little money because they came out during World War II.