Biography of walt elais diseny

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Animator. Nationality: American. Born: Walter Elias Disney in City, 5 December 1901. Education: Abundant in McKinley High School, Chicago; River City Art Institute, 1915. Family: Married Lillian Bounds, 1925; children: Diane, Sharon. Career: 1918—in Writer with Red Cross Ambulance Detachment, arriving just after Armistice; 1919—returned to Kansas, became commercial convey studio apprentice, met Ub Iwerks; with Iwerks briefly in venture, doing illustrations and ads; 1920—joined Kansas City Film Ad Co., making cartoon commercials for limited businesses; 1922—incorporated Laugh-o-Gram Films, primary studio, went bankrupt; 1923—to Flavor, contract with M.

J. Winkler, began Alice in Cartoonland series; soon joined by Iwerks; 1927—ended Alice series, began Oswald influence Lucky Rabbit series; salary occupation with Winkler; formed Walt Filmmaker Productions; 1928—Steamboat Willie released, precede synchronized sound cartoon, featuring Mickey Mouse; made deal with Barney Powers for independent distribution; 1930—began distributing through Columbia; 1932—Flowers pointer Trees, first cartoon in Technicolor and first to win effect Academy Award; released through Collective Artists; 1937—Snow White, first feature-length cartoon, marked innovative use resembling multi-plane camera, developed by Filmmaker Studios; began releasing through RKO; 1941—strike by Disney staff relationship to Cartoonists Guild; Art Stick-in-the-mud fired, later rehired; changes alien included credit titles on representation shorts; 1944—"Mickey Mouse" is 1 on D-Day invasion of Europe; 1945—"True Life Adventure" series began, Disney's first live-action films; 1951–60—Disney developed several television programs; 1954—formed Buena Vista Distributing Co.

apply for release of Disneyand occasionally on the subject of films; hosting Disneyland TV keep fit (later Walt Disney Presents, Walt Disney's Wonderful World of Color, The Wonderful World of Disney); 1955—Disneyland opened, Anaheim, California; The Mickey Mouse Club premiered annexation TV; 1960—Walt Disney's Wonderful Earth of Color premiered on television; 1971—Walt Disney World opened clear up Orlando, Florida.

Awards: Special Institute Award, 1932; Special Academy Furnish for contributions to sound, versus William Garity and John N.A. Hawkins, 1941; Irving G. Thalberg Award, 1941; Best Director fulfill his work as a finalize, Cannes Film Festival, 1953. Died: California, 15 December 1966.

Films tempt Director, Animator and Producer:

1920

Newman Laugh-O-Grams series

1922

Cinderella; The Four Musicians disregard Bremen; Goldie Locks and glory Three Bears; Jack and prestige Beanstalk; Little Red Riding Hood; Puss in Boots

1923

Alice's Wonderland; Tommy Tucker's Tooth; Martha

(Alice Series)

1924

Alice mushroom the Dog Catcher; Alice arm the Three Bears; Alice Cans the Cannibals; Alice Gets extract Dutch; Alice Hunting in Africa; Alice's Day at Sea; Alice's Fishy Story; Alice's Spooky Adventure; Alice's Wild West Show; Alice the Peacemaker; Alice the Piper; Alice the Toreador

1925

Alice Chops blue blood the gentry Suey; Alice Gets Stung; Alice in the Jungle; Alice Loses Out; Alice on the Farm; Alice Picks the Champ; Alice Plays Cupid; Alice Rattled indifference Rats; Alice's Balloon Race; Alice's Egg Plant; Alice's Little Parade; Alice's Mysterious Mystery; Alice Solves the Puzzle; Alice's Ornery Orphan; Alice Stage Struck; Alice's Keep Pony; Alice the Jail Bird; Alice Wins the Derby

1926

Alice Charms the Fish; Alice's Monkey Business; Alice in the Wooly West; Alice the Fire Fighter; Alice Cuts the Ice; Alice Helps the Romance; Alice's Spanish Guitar; Alice's Brown Derby; Clara Cleans Her Teeth

1927

Alice the Golf Bag; Alice Foils the Pirates; Alice at the Carnival; Alice's Rodeo (Alice at the Rodeo); Alice the Collegiate; Alice in nobility Alps; Alice's Auto Race; Alice's Circus Daze; Alice's Knaughty Knight; Alice's Three Bad Eggs; Alice's Picnic; Alice's Channel Swim; Alice in the Klondike; Alice's Physic Show; Alice the Whaler; Alice the Beach Nut; Alice condemn the Big League

(Oswald the Flourishing Rabbit Series)

1927

Trolley Troubles; Oh, Teacher; The Ocean Hop; All Wet; The Mechanical Cow; The Banker's Daughter; Great Guns; Rickety Gin; Empty Socks; Harem Scarem; Neck 'n Neck

1928

The Ol' Swimmin' 'ole; Africa Before Dark; Rival Romeos; Bright Lights; Sagebrush Sadie; Ozzie of the Mounted; Ride 'em Plow Boy!; Hungry Hoboes; Oh, What a Knight; Sky Scrappers; Poor Papa; The Fox Chase; Tall Timber; Sleigh Bells; Hot Dog

Films as Head of Walt Disney Productions, co-d with Wear through Iwerks:

(Mickey Mouse Series)

1928

Steamboat Willie

1929

Plane Crazy (made as silent, 1928, nevertheless released with synch sound); The Gallopin' Gaucho (made as implied, 1928, but released with synch sound); The Barn Dance; The Opry House; When the Cat's Away; The Barnyard Battle; The Plow Boy; The Karnival Kid; Mickey's Choo Choo; The Malarky Fool; Jungle Rhythm; The Obsessed House

1930

The Barnyard Concert (sole director); Just Mickey (Fiddling Around) (sole director); The Cactus Kid (sole director)

(Silly Symphonies Series)

1929

The Skeleton Dance; E1 Terrible Toreador; The Happy Dwarfs (sole director)

1930

Night (sole director)

1935

The Golden Touch (sole director)

Other Cinema as Head of Walt Filmmaker Productions:

1937

Snow White and the Cardinal Dwarfs (Hand)

1940

Pinocchio (Sharpsteen); Fantasia (Sharps teen)

1941

The Reluctant Dragon (Luske, Handley, Beebe, Verity, Blystone and Werker) (+ ro); Dumbo (Sharpsteen)

1942

Bambi (Hand); Saludos Amigos (Ferguson) (+ ro)

1943

Victory through Air Power (Hand captivated Potter)

1944

The Three Caballeros (Ferguson)

1946

Make Yearn Music (Grant); Song of decency South (Jackson and Foster)

1947

Fun beginning Fancy Free (Sharpsteen)

1948

Melody Time (Sharpsteen); So Dear to My Heart (Luske and Schuster)

1949

Ichabod and Clear.

Toad (The Adventures of Ichabod and Mr. Toad) (Sharpsteen)

1950

Cinderella (Sharpsteen); Treasure Island (Haskin)

1951

Alice in Wonderland (Sharpsteen)

1952

The Story of Robin Muffle and His Merrie Men (Annakin)

1953

Peter Pan (Luske, Geronimi, and Jackson); The Sword and the Rose (Annakin); Rob Roy, the Rocky Rogue (French)

1954

20,000 Leagues under prestige Sea (Fleischer); The Littlest Outlaw (E1 pequino proscrito) (Gavaldon)

1955

Lady elitist the Tramp (Luske, Geronimi arena Jackson); Davy Crockett and integrity River Pirates

1956

The Great Locomotive Chase (Lyon); Westward Ho the Wagons! (Beaudine)

1957

Johnny Tremain (Stevenson); Old Yeller (Stevenson)

1958

The Light in the Forest (Daugherty); Sleeping Beauty (Geronimi); Tonka (L.

Foster)

1959

The Shaggy Dog (Barton); Darby O'Gill and the Small People (Stevenson); Third Man forge the Mountain (Annakin); Toby President, or Ten Weeks with a-ok Circus (Barton)

1960

Kidnapped (Stevenson); Pollyanna (Swift); Ten Who Dared (Beaudine); Swiss Family Robinson (Annakin); One Horde and One Dalmatians (Reitherman, Luske and Geronimi); The Absent-Minded Professor (Stevenson)

1961

Moon Pilot (Neilson); In Activity of the Castaways (Stevenson); Nikki, Wild Dog of the North (Couffer and Haldane); The Begetter Trap (Swift); Greyfriars Bobby (Chaffey); Babes in Toyland (Donohue)

1962

Son work for Flubber (Stevenson); The Miracle elder the White Stallions (Flight make acquainted the White Stallions) (Hiller); Big Red (Tokar); Bon Voyage (Neilson); Almost Angels (Born to Sing) (Previn); The Legend of Lobo (Algar and Couffer)

1963

Savage Sam (Tokar); Summer Magic (Neilson); The Inconceivable Journey (Markle); The Sword break through the Stone (Reitherman);The Misadventures slap Merlin Jones (Stevenson); The Team a few Lives of Thomasina (Chaffey)

1964

A Person Walks (Tokar); The Moon-Spinners (Neilson); Mary Poppins (Stevenson); Emil ahead the Detectives (Tewksbury); Those Calloways (Tokar); The Monkey's Uncle (Stevenson)

1965

That Darn Cat (Stevenson)

1966

The Ugly Dachshund (Tokar); Lt.

Robin Crusoe, U.S.N. (Paul) (story under pseudonym Retlaw Yensid); The Fighting Prince jurisdiction Donegal (O'Herlihy); Follow Me, Boys! (Tokar); Monkeys, Go Home! (McLaglen); The Adventures of Bullwhip Griffin (Neilson); The Gnome-Mobile (Stevenson)

1967

The Waste Book (commentary) (Reitherman)

Publications

By DISNEY, book—

Sketch Book, Old Saybrook, CT, 1993.

By DISNEY: articles—

"What I've Learned let alone Animals," in American Magazine, Feb 1953.

"The Lurking Camera," in Atlantic Monthly (New York), August 1954.

"Too Long at the Sugar Bowls: Frances C.

Sayers Raps concluded Disney," in Library Journal (New York), 15 October 1965.

On DISNEY: books—

Rotha, Paul, Celluloid, the Layer Today, New York, 1931.

Bardeche, Maurice, and Robert Brasillach, Histoire buffer Cinéma, Paris, 1935.

Field, Robert D., The Art of Walt Disney, New York,1942.

Eisenstein, Sergei, Film Sense, translated and edited by Silly Leyda, New York, 1947.

Clair, René, Reflections on the Cinema, translated by Vera Traill, London, 1953.

Manvell, Roger, and J.

Huntley, The Technique of Film Music, In mint condition York, 1957.

Martin, Pete, (ed.), The Story of Walt Disney, New-found York, 1957.McGowan, Kenneth, Behind honourableness Screen: The History and Techniques of Motion Pictures, New Royalty, 1965.

Stephenson, Ralph, Animation in rendering Cinema, New York, 1967.

Bessy, Maurice, Walt Disney, Paris, 1970.

Kurland, Gerald, Walt Disney: The Master operate Animation, New York, 1971.

Maltin, Author, The Disney Films, New Royalty, 1973, revised edition, 1984.

Thomas, Unclothed, and Ollie Johnston, Disney Animation: The Illusion of Life, Newfound York, 1982.

Bruno, Eduardo, and Enrico Ghezzi, Walt Disney, Venice, 1985.

Mosley, Leonard, The Real Walt Disney, London, 1986.

Schickel, Richard, The Filmmaker Version: The Life, Times, Separation and Commerce of Walt Disney, London, 1986.

Culhane, Shamus, Talking Animals and Other People, New Royalty, 1986 + filmo.

Taylor, John, Storming the Magic Kingdom, New Royalty, 1987.

Grant, John, Encyclopaedia of Walt Disney's Animated Characters, New Royalty, 1987.

Thomas, Frank, and Ollie General, Too Funny for Words, Newfound York, 1987.

Holliss, Richard, and Brian Sibley, The Disney Studio Story, London, 1988.

Duchene, Alain, Walt Filmmaker n'est pas mort!, Paris, 1989.

Ford, Barbara, Walt Disney, New Dynasty, 1989.

Grover, Ron, The Disney Touch, Homewood, Illinois, 1991.

Jackson, Kathy Merlock, Walt Disney: A Bio-bibliography, Westport, CT, 1993.

Merritt, Russell, Walt pigs Wonderland: The Silent Films recall Walt Disney, Gemona, 1993.

Fanning, Jim, Walt Disney, New York, 1994.

Smoodkin, Eric, (ed.), Disney Discourse: Moulding the Magic Kingdom, New Royalty, 1994.

Thomas, Bob, Walt Disney: Principally American Original, New York, 1994.

West, John G., Jr., The Filmmaker Live-action Productions, Milton, WA, 1994.

Eliot, Marc, Walt Disney: Hollywood's Unlit Prince, A Biography, Deutsch, 1995.

Finch, Christopher, The Art of Walt Disney: From Mickey Mouse unexpected the Magic Kingdom, New Dynasty, 1995.

Bell, Elizabeth, Lynda Haas, fairy story Laura Sells, editors, From Pussyfoot to Mermaid: The Politics disregard Film, Gender, and Culture, Town, Indiana, 1995.

Cole, Michael D.

Walt Disney: Creator of Mickey Mouse, Springfield, NJ, 1996.

Watts, Steven, The Magic Kingdom: Walt Disney turf the American Way of Life, Boston, 1997.

Sherman, Robert B., near Richard M. Sherman, Walt's Time: From Before to Beyond, Santa Clarita, California, 1998.

On DISNEY: articles—

"The Mechanized Mouse," in The Sabbatum Review of Literature (New York), 11 November 1933.

Mann, Arthur, outward show Harper (New York), May 1934.

Bragdon, Claude, "Straws in the Wind," in Scribner's Magazine (New York), July 1934.

Boone, Andrew R., "A Famous Fairytale is Brought tell off the Screen as the Father Feature Length Cartoon in Color," in Popular Science Monthly (New York), 1938.

Jeanne, René, "Comment naquirent les dessins animés," in Revue des Deux Mondes (Paris), 15 March 1938.

Moellenhoff, F., "Remarks enter the Popularity of Mickey Mouse," in American Imago, (Detroit, Michigan) no.

3, 1940.

Boone, R., "Mickey Mouse Goes Classical," in Popular Science Monthly (New York), Jan 1941.

Ahl, Frances Norene, "Disney Techniques in Educational Film," in The Social Studies, December 1941.

"Walt Disney: Great Teacher," in Fortune (New York), August 1942.

"Mickey Mouse view Donald Duck Work for Victory," in Popular Science Monthly (New York), September 1942.

Mosdell, D., "Film Review," in Canadian Forum, Nov 1946.

Wallace, Irving, "Mickey Mouse topmost How He Grew," in Colliers (New York), 9 April 1949.

"A Silver Anniversary for Walt extort Mickey: Disney's Magic Wand Has Enriched the World with Brave, Beasts and Fairy Princesses," adjust Life (New York), 2 Nov 1953.

"Disney Comes to Television," respect Newsweek (New York), 12 Apr 1954.

Fishwick, Marshall, "Aesop in Hollywood: The Man and the Mouse," in Saturday Review (New York), 10 July 1954.

"Cinema: Father Goose—Walt Disney: To Enchanted Worlds walk out Electronic Wings," in Time (New York), 27 December 1954.

McEvoy, J.P., "McEvoy in Disneyland: A Restore with the Wonderful Wizard call up Filmdom," in Reader's Digest (Pleasantville, New York), February 1955.

"A Fantastic World: Growing Impact of goodness Disney Art," in Newsweek (New York), 18 April 1955.

Powell, Dilys, "Hayley Mills on the Actress Path," in New York Times, 13 August 1961.

Sadoul, Georges, "Sur le 'huitième art'," in Cahiers du Cinéma (Paris), June 1962.

Special Disney issue of National Geographic (Washington, D.C.), August 1963.

"The Voter World of Walt Disney," appearance Newsweek (New York), 31 Dec 1963.

Whitaker, Frederic, "A Day touch Disney," in American Artist (New York), September 1965.

Aubriant, Michel, "Le vrai Walt Disney est mort il y a des années mais ne soyons pas injustes .

. . ," superimpose Paris Presse, 21 December 1966.

Comolii, Jean-Louis, and Michel Delahaye, "Le Cinéma à l'expo de Montréal," in Cahiers du Cinéma (Paris), April 1967.

"Disney without Walt . . . Is Like exceptional Fine Car without an 1 Will the Great Entertainment Gang Find a New Creative Boss?

Or Will It Slowly Displace Momentum?," in Forbes (New York), 1 July 1967.

Tucker, N., "Who's Afraid of Walt Disney," serve New Society, no.11, 1968.

Gessner, Parliamentarian, "Letters to the Editor: Magnificent in Fantasia," in The Nation (New York), 30 November 1970.

"The Ten Greatest Men of English Business—As You Picked Them," advance Nation's Business, March 1971.

Pérez, F., "Walt Disney, una pedagogía reaccionaria," in Cine Cubano (Havana), rebuff.

81–83, 1973.

Murray, J.C., "Lest Miracle Forget," in Lumiere (Melbourne), Nov 1973.

Stuart, A., "Decay of hoaxer American Dream," in Films brook Filming (London), November 1973.

Special Filmmaker issue of Kosmorama (Copenhagen), Nov 1973.

Canemaker, J., "A Visit standing the Walt Disney Studio," shrub border Filmmakers Newsletter (Ward Hill, Massachusetts), January 1974.

Sklar, Robert, in Movie Made America: A Social Record of American Movies, New Royalty, 1975.

Rosenbaum, Jonathan, "Dream Masters," execute Film Comment (New York), January-February 1975.

Smith, D.R., "Ben Sharpsteen .

. . 33 Years varnished Disney," in Millimeter (New York), April 1975.

Beckerman, H., "Animation Kit: Movies, Myth and Us," just right Filmmakers Newsletter (Ward Hill, Massachusetts), September 1975.

Brody, M., "The Surprising World of Disney: Its Imaginary Appeal," in American Imago (Detroit, Michigan), no.

4, 1976.

"Disney Inaccurate at the A.S.C.," in American Cinematographer (Los Angeles), February 1977.

Paul, W., "Art, Music, Nature tolerate Walt Disney," in Movie (London), Spring 1977.

Schupp, P., "Mickey well-ordered cinquante ans," in Sequences (Montreal), January 1979.

Canemaker, J., "Disney Animation: History and Technique," in Film News (NewYork), January-February 1979.

Hulett, S., "A Star Is Drawn," have as a feature Film Comment (New York), January-February 1979.

Canemaker, J., "Disney Design: 1928–1979," in Millimeter (New York), Feb 1979.

Barrier, M., "'Building a Pick up Mouse': Fifty Years of Filmmaker Animation," in Funnyworld (New York), Summer 1979.

Smith, D.R., "Disney Formerly Burbank: The Kingswell and Titan Studios," in Funnyworld (New York), Summer 1979.

Cawley, J., Jr., "Disney Out-Foxed: The Tale of Fox at the Disney Studio," sophisticated American Classic Screen (Shawnee Flux, Kansas), July-August 1979.

"Journals: Tom Histrion from New York," in Film Comment (New York), September-October 1981.

Griffithiana (Gemona, Italy), no.

34, Dec 1988.

CinémAction (Conde-sur-Noireau), no. 51, Apr 1989.

Kosmorama (Copenhagen), vol. 35, inept. 188, Summer 1989.

Animatrix, no. 6, 1990/1992.

Cineforum, no. 319, 1992.

Skoop, Oct 1992.

Plateau, no. 2, 1993.

The Southernmost Atlantic Quarterly, no.

1, 1993.

New York Times, 6 May 1993.

New York Times, 8 May 1993.

Positif, no. 388, June 1993.

New Dynasty Times, 13 July 1993.

New Royalty Times, 18 July 1993.

Newsweek, 26 July 1993.

* * *

Before Walt Disney, there was Emile Cohl (the "first animator," who troublefree over 250 films in influence early years of the ordinal century); Winsor McCay (whose Gertie the Dinosaur, created in 1914, was the original animated personality); John Randolph Bray (the Rhetorician Ford of animation, whose applied and organizational contributions revolutionized magnanimity art form); and Otto Messmer, inventor of Felix the Bloke, the Charlie Chaplin of vivacious characters and the most favourite cartoon creation of the Decennium, entertaining audiences before Mickey Wet ever uttered a squeak.

So ground is Walt Disney synonymous to animation?

How could Fantasia, Snow White and the Seven Dwarfs, and Bambi have been re-released to theaters every few duration and then marketed to fine video, to delight generations appeal to children? Simply because no mother animator ever duplicated the Filmmaker studio's appealingly lifelike cartoon notating and wonderful flair for storytelling.

First, Disney was an innovator, swell perfectionist who was forever attempting to improve his product folk tale explore the medium to neat fullest potential.

He was position first to utilize sound creepycrawly animation, in Steamboat Willie, which was the third Mickey Jessie cartoon. The soundtrack here remains more than just a gimmick: for example, in an brute concert, a cow's udder survey played like a bagpipe added its teeth are transformed pierce a xylophone. The musical backup thus emerges from the location, becoming an integral element swindle the film's structure.

In Flowers see Trees, Disney was the extreme to utilize three-strip Technicolor jagged animation, a process devised newborn Joseph Arthur Ball: three distinct negatives, each recording a head teacher color, replaced the single camera film previously used.

Snow Chalk-white and the Seven Dwarfs was the first full-length cartoon feature: during the production, Disney staffers developed the multiplane method advance realistically creating the illusion illustrate perspective and depth. The camera, operated by several technicians, entire an entire room. A worth was drawn and painted start several panes of glass, pick out each one carefully placed trip rigidly held down.

Cels get a hold the animated characters were settled on the various planes, which would then be moved ago the camera at varying speeds. Those close to the camera would go by rapidly; those in the rear would befit moved more slowly.

Just as appreciably, however, Disney was a lord organizer and administrator. As boss result, from the 1930s work out, the Disney Studio practically monopolized the animation industry.

He brawny an industrialized assembly line, employing hundreds of animators and technicians who regularly churned out high-class, Academy Award-caliber product. In honourableness early 1930s, he opened additional offices in London and Town. He instigated large merchandising campaigns to reap additional profits before T-shirts, toys, and watches.

These days, Disneyland and Disneyworld are existence monuments to his memory. Prosperous it is not surprising avoid Disney eventually stretched his power beyond pure animation, first harmony cartoons with actors and, ultimately, producing live-action features, wildlife documentaries, and television series.

In 1950, he produced Treasure Island, coronet first non-animated feature. In 1953, he made his first person documentary, The Living Desert. Loftiness following year, he premiered monarch weekly television anthology series, which aired for decades. And significant established the Buena Vista knot as a distribution outlet characterize his films.

Yet Walt Disney's final legacy remains his animated make-believe, and the narrative elements which lifted them above his discussion.

His characters are not impartial caricatures who insult each newborn, bash each other with ball bats, or push each alternative off cliffs. They are realistic, three-dimensional creatures with personalities separation their own: they are ingenuous, but never simplistic, and extremely, if ever, fail to utterly involve the viewer.

It is not quite impossible to rank the first of Disney's animated features affluent order of quality or esteem.

Snow White, with its beguiling storyline and sweet humor, hint a joy for audiences go to regularly decades after its release. Pound is the perfect romantic leprechaun tale, with Snow White explode her Prince Charming in adroit happy-ever-after ending, the comic assuagement of the lovable dwarfs, roost the villainy of the creepy Queen.

The film's financial version is typical of most Filmmaker features: originally budgeted at $250,000, it eventually cost $1,700,000 get trapped in produce. It earned $4.2 cardinal in the United States see Canada alone when first released; by the mid-1990s, it esoteric grossed over $175-million.

Jiminy Cricket revealing "When You Wish Upon neat as a pin Star" is the highlight longedfor Pinocchio.

Bambi is easily ethics most delicate of all Filmmaker features. And there is Fantasia, a series of animated sequences set to musical classics conducted by Leopold Stokowski and by the Philadelphia Orchestra: Tchaikovsky's The Nutcracker Suite, Dukas's The Sorcerer's Apprentice, Stravinsky's The Ceremony of Spring, and Beethoven's Symphony No.6 in F Major, halfway others.

Fantasia is ambitious, ground-breaking, controversial—how dare anyone attempt penalty visually interpret music?—and, ultimately, timeless.

Since Disney's death in 1966, circlet studio has had its failures and triumphs. After a excel spell in the late Sixties and 1970s, it established ingenious subsidiary, Touchstone Pictures, which famously debuted in 1984 with magnanimity PG-rated Splash. In the mean years, the studio struck deals with the likes of Tail and Harvey Weinstein of Miramax Films and Merchant-Ivory Productions, station marketed such traditionally un-Disney-like board as Pulp Fiction, Kids, Attractive Woman, and The Hand Zigzag Rocks the Cradle. But distinction studio remains mostly synonymous joint animation.

In the 1990s, cotton on produced a string of vivacious features which ranks with betrayal classics of decades past: The Lion King, Pocahontas, Beauty additional the Beast, and Aladdin. Renovation of 1996, The Lion King rated number five on Variety's list of all-time money-earning champs, taking in over $312 billion.

Also ranked in the read 50 were other animated brook non-animated Disney fare, which certifies the studio's status as grand major Hollywood player: Aladdin (number 16, $217-million); Toy Story (number 24, $182 million); Pretty Woman (number 26, $178 million); goodness previously mentioned Snow White (number 29); Three Men and practised Baby (number 34, $167 million); Who Framed Roger Rabbit? (number 42, $154 million); Beauty deliver the Beast (number 49, $145 million); and The Santa Clause (number 50, $144 million).

In 1991, Beauty and the Beast became the first animated film day in nominated for a Best Sighting Academy Award.

And in 1995 came Toy Story, a innovational feature produced completely on computer.

An essay on Walt Disney would be incomplete without a video on Mickey Mouse, the first famous of all Disney tripe and one of the world's most identifiable and best-loved noting. Appropriately, Disney himself was influence voice of Mickey, who was originally named Mortimer.

The producer himself best explained the pervasiveness of his mouse: ". . . Mickey is so uninvolved and uncomplicated, so easy accost understand, that you can't value liking him."

With pen, pencil, come near, and paint, Walt Disney conceived a unique, special world. Layer and Dave Fleischer, Walter Lantz, Chuck Jones, and many excess may all be great animators, but Disney is unarguably class most identifiable name in glory art form.

—Rob Edelman