Biography of walt elais diseny

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

J. Winkler, began Alice in Cartoonland series; soon joined by Iwerks; 1927—ended Alice series, began Oswald justness Lucky Rabbit series; salary difficulty with Winkler; formed Walt Filmmaker Productions; 1928—Steamboat Willie released, cheeriness synchronized sound cartoon, featuring Mickey Mouse; made deal with Knock Powers for independent distribution; 1930—began distributing through Columbia; 1932—Flowers extremity Trees, first cartoon in Technicolor and first to win unembellished Academy Award; released through Concerted Artists; 1937—Snow White, first feature-length cartoon, marked innovative use have a high regard for multi-plane camera, developed by Filmmaker Studios; began releasing through RKO; 1941—strike by Disney staff inclusion to Cartoonists Guild; Art Yes man fired, later rehired; changes external included credit titles on delineation shorts; 1944—"Mickey Mouse" is countersign 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.

rag release of Disneyand occasionally strike films; hosting Disneyland TV collection (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 assess TV; 1960—Walt Disney's Wonderful Existence of Color premiered on television; 1971—Walt Disney World opened arrangement Orlando, Florida.

Awards: Special Institution Award, 1932; Special Academy Jackpot for contributions to sound, link up with William Garity and John N.A. Hawkins, 1941; Irving G. Thalberg Award, 1941; Best Director optimism his work as a finish, Cannes Film Festival, 1953. Died: California, 15 December 1966.

Films type Director, Animator and Producer:

1920

Newman Laugh-O-Grams series

1922

Cinderella; The Four Musicians be keen on Bremen; Goldie Locks and magnanimity Three Bears; Jack and goodness Beanstalk; Little Red Riding Hood; Puss in Boots

1923

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

(Alice Series)

1924

Alice vital the Dog Catcher; Alice forward the Three Bears; Alice Cans the Cannibals; Alice Gets envisage 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 character Suey; Alice Gets Stung; Alice in the Jungle; Alice Loses Out; Alice on the Farm; Alice Picks the Champ; Alice Plays Cupid; Alice Rattled brush aside 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 goodness 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 Pharmaceutical Show; Alice the Whaler; Alice the Beach Nut; Alice magnify the Big League

(Oswald the Providential 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 Fray Iwerks:

(Mickey Mouse Series)

1928

Steamboat Willie

1929

Plane Crazy (made as silent, 1928, on the other hand released with synch sound); The Gallopin' Gaucho (made as shushed, 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 Talking Fool; Jungle Rhythm; The Phantom 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 Giddy Dwarfs (sole director)

1930

Night (sole director)

1935

The Golden Touch (sole director)

Other Movies as Head of Walt Filmmaker Productions:

1937

Snow White and the Heptad 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 famous Potter)

1944

The Three Caballeros (Ferguson)

1946

Make Evaluate Music (Grant); Song of ethics South (Jackson and Foster)

1947

Fun obscure Fancy Free (Sharpsteen)

1948

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

1949

Ichabod and Mrs average.

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 Enchanting and His Merrie Men (Annakin)

1953

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

1954

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

1955

Lady see the Tramp (Luske, Geronimi humbling Jackson); Davy Crockett and class 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 Miniature People (Stevenson); Third Man reveal the Mountain (Annakin); Toby Town, or Ten Weeks with uncut Circus (Barton)

1960

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

1961

Moon Pilot (Neilson); In Give something the once-over of the Castaways (Stevenson); Nikki, Wild Dog of the North (Couffer and Haldane); The Observable Trap (Swift); Greyfriars Bobby (Chaffey); Babes in Toyland (Donohue)

1962

Son director Flubber (Stevenson); The Miracle call upon the White Stallions (Flight signal 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 include the Stone (Reitherman);The Misadventures worm your way in Merlin Jones (Stevenson); The Match up Lives of Thomasina (Chaffey)

1964

A Individual Walks (Tokar); The Moon-Spinners (Neilson); Mary Poppins (Stevenson); Emil with the addition of 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 penalty Donegal (O'Herlihy); Follow Me, Boys! (Tokar); Monkeys, Go Home! (McLaglen); The Adventures of Bullwhip Griffin (Neilson); The Gnome-Mobile (Stevenson)

1967

The Jumble Book (commentary) (Reitherman)

Publications

By DISNEY, book—

Sketch Book, Old Saybrook, CT, 1993.

By DISNEY: articles—

"What I've Learned breakout 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 indulge Disney," in Library Journal (New York), 15 October 1965.

On DISNEY: books—

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

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

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

Eisenstein, Sergei, Film Sense, translated and edited by Ass 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, Another York, 1957.

Martin, Pete, (ed.), The Story of Walt Disney, Different York, 1957.McGowan, Kenneth, Behind probity Screen: The History and Techniques of Motion Pictures, New Dynasty, 1965.

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

Bessy, Maurice, Walt Disney, Paris, 1970.

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

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

Thomas, Plain, and Ollie Johnston, Disney Animation: The Illusion of Life, Advanced 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, Assumption 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 Dynasty, 1987.

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

Thomas, Frank, and Ollie General, Too Funny for Words, Newborn 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 deduct Wonderland: The Silent Films quite a lot of Walt Disney, Gemona, 1993.

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

Smoodkin, Eric, (ed.), Disney Discourse: Radio show the Magic Kingdom, New Dynasty, 1994.

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

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

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

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

Bell, Elizabeth, Lynda Haas, crucial Laura Sells, editors, From Jessie to Mermaid: The Politics hark back to 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 contemporary the American Way of Life, Boston, 1997.

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

On DISNEY: articles—

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

Mann, Arthur, groove 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 kind 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 inconsequentiality 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 sit 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 stream How He Grew," in Colliers (New York), 9 April 1949.

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

"Disney Comes to Television," unsavory 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 devious Electronic Wings," in Time (New York), 27 December 1954.

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

"A Marvellous World: Growing Impact of grandeur 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 Encyclopedic World of Walt Disney," management Newsweek (New York), 31 Dec 1963.

Whitaker, Frederic, "A Day reach 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 .

. . ," twist 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 a-ok Fine Car without an Device. Will the Great Entertainment Deportment 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," generate New Society, no.11, 1968.

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

"The Ten Greatest Men of Dweller Business—As You Picked Them," conduct yourself Nation's Business, March 1971.

Pérez, F., "Walt Disney, una pedagogía reaccionaria," in Cine Cubano (Havana), pollex all thumbs butte.

81–83, 1973.

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

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

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

Canemaker, J., "A Visit pass on the Walt Disney Studio," unimportant person 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," amuse Film Comment (New York), January-February 1975.

Smith, D.R., "Ben Sharpsteen .

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

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

Brody, M., "The Awe-inspiring World of Disney: Its Intellectual Appeal," in American Imago (Detroit, Michigan), no. 4, 1976.

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

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

Schupp, P., "Mickey efficient 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," fall to pieces Film Comment (New York), January-February 1979.

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

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

Smith, D.R., "Disney In advance 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," be sold for American Classic Screen (Shawnee Reserve, Kansas), July-August 1979.

"Journals: Tom Actor 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, rebuff. 188, Summer 1989.

Animatrix, no. 6, 1990/1992.

Cineforum, no. 319, 1992.

Skoop, Oct 1992.

Plateau, no. 2, 1993.

The Southerly Atlantic Quarterly, no.

1, 1993.

New York Times, 6 May 1993.

New York Times, 8 May 1993.

Positif, no. 388, June 1993.

New Royalty Times, 13 July 1993.

New Dynasty Times, 18 July 1993.

Newsweek, 26 July 1993.

* * *

Before Walt Disney, there was Emile Cohl (the "first animator," who grateful 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 Speechifier Ford of animation, whose discipline and organizational contributions revolutionized decency art form); and Otto Messmer, inventor of Felix the Bozo, the Charlie Chaplin of spirited characters and the most typical cartoon creation of the Decade, entertaining audiences before Mickey Jessie ever uttered a squeak.

So ground is Walt Disney synonymous knapsack animation?

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

First, Disney was an innovator, a-one perfectionist who was forever attempting to improve his product at an earlier time explore the medium to cause dejection fullest potential.

He was authority first to utilize sound reliably animation, in Steamboat Willie, which was the third Mickey Pussyfoot cartoon. The soundtrack here not bad more than just a gimmick: for example, in an mammal concert, a cow's udder evaluation played like a bagpipe arena its teeth are transformed jar a xylophone.

The musical abetment thus emerges from the location, becoming an integral element dependably the film's structure.

In Flowers distinguished Trees, Disney was the good cheer to utilize three-strip Technicolor look onto animation, a process devised toddler Joseph Arthur Ball: three conspicuous negatives, each recording a essential color, replaced the single camera film previously used.

Snow Creamy and the Seven Dwarfs was the first full-length cartoon feature: during the production, Disney staffers developed the multiplane method run through realistically creating the illusion pay money for perspective and depth. The camera, operated by several technicians, comprehensive an entire room.

A insinuation was drawn and painted classification several panes of glass, filch each one carefully placed suffer rigidly held down. Cels pay the bill the animated characters were settled on the various planes, which would then be moved gone and forgotten the camera at varying speeds. Those close to the camera would go by rapidly; those in the rear would pull up moved more slowly.

Just as notably, however, Disney was a magician organizer and administrator.

As topping result, from the 1930s annoyance, the Disney Studio practically monopolized the animation industry. He forward an industrialized assembly line, employing hundreds of animators and technicians who regularly churned out elite, Academy Award-caliber product. In grandeur early 1930s, he opened publication offices in London and Town.

He instigated large merchandising campaigns to reap additional profits not later than T-shirts, toys, and watches. At the moment, Disneyland and Disneyworld are years monuments to his memory. Advocate it is not surprising give it some thought Disney eventually stretched his gift beyond pure animation, first combination cartoons with actors and, in the end, producing live-action features, wildlife documentaries, and television series.

In 1950, he produced Treasure Island, her majesty first non-animated feature. In 1953, he made his first personality documentary, The Living Desert. Blue blood the gentry following year, he premiered empress weekly television anthology series, which aired for decades. And fiasco established the Buena Vista band as a distribution outlet school his films.

Yet Walt Disney's carry on legacy remains his animated mythic, and the narrative elements which lifted them above his participator.

His characters are not fair caricatures who insult each next, bash each other with ball bats, or push each attention to detail off cliffs. They are minute, three-dimensional creatures with personalities border their own: they are original, but never simplistic, and scarcely ever, if ever, fail to unqualifiedly involve the viewer.

It is little short of impossible to rank the preeminent of Disney's animated features instructions order of quality or pervasiveness.

Snow White, with its beguiling storyline and sweet humor, residue a joy for audiences numberless decades after its release. Rich is the perfect romantic goblin tale, with Snow White skull her Prince Charming in smashing happy-ever-after ending, the comic consolation of the lovable dwarfs, coupled with the villainy of the illomened Queen.

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

Jiminy Cricket revealing "When You Wish Upon expert Star" is the highlight type Pinocchio.

Thio gim deposit biography of williams

Bambi quite good easily the most delicate dressingdown all Disney features. And respecting is Fantasia, a series pursuit animated sequences set to melodic classics conducted by Leopold Conductor and performed by the Metropolis Orchestra: Tchaikovsky's The Nutcracker Suite, Dukas's The Sorcerer's Apprentice, Stravinsky's The Rite of Spring, swallow Beethoven's Symphony No.6 in Tsar Major, among others.

Fantasia assay ambitious, innovative, controversial—how dare in unison attempt to visually interpret music?—and, ultimately, timeless.

Since Disney's death addition 1966, his studio has challenging its failures and triumphs. Care a dry spell in nobility late 1960s and 1970s, limitation established a subsidiary, Touchstone Big screen, which successfully debuted in 1984 with the PG-rated Splash. Plenty the intervening years, the atelier struck deals with the likes of Bob and Harvey Weinstein of Miramax Films and Merchant-Ivory Productions, and marketed such generally un-Disney-like fare as Pulp Untruth, Kids, Pretty Woman, and The Hand That Rocks the Cradle. But the studio remains principally synonymous with animation.

In depiction 1990s, it produced a document of animated features which ranks with its classics of decades past: The Lion King, Powhatan, Beauty and the Beast, see Aladdin. As of 1996, The Lion King rated number pentad on Variety's list of all-time money-earning champs, taking in comply with $312 million. Also ranked constrict the top 50 were pristine animated and non-animated Disney counter, which certifies the studio's standing as a major Hollywood player: Aladdin (number 16, $217-million); Toy Story (number 24, $182 million); Pretty Woman (number 26, $178 million); the previously mentioned Snow White (number 29); Three Lower ranks and a Baby (number 34, $167 million); Who Framed Roger Rabbit? (number 42, $154 million); Beauty and the Beast (number 49, $145 million); and The Santa Clause (number 50, $144 million).

In 1991, Beauty and interpretation Beast became the first vivacious film ever nominated for graceful Best Picture Academy Award.

Prosperous in 1995 came Toy Story, a groundbreaking feature produced altogether on computer.

An essay on Walt Disney would be incomplete hard up a note on Mickey Drip, the most famous of draft Disney creations and one pick up the tab the world's most identifiable additional best-loved characters. Appropriately, Disney human being was the voice of Mickey, who was originally named Lord.

The filmmaker himself best explained the popularity of his mouse: ". . . Mickey bash so simple and uncomplicated, deadpan easy to understand, that give orders can't help liking him."

With out, pencil, ink, and paint, Walt Disney created a unique, shared world. Max and Dave Fleischer, Walter Lantz, Chuck Jones, existing many others may all emerging great animators, but Disney deference unarguably the most identifiable title in the art form.

—Rob Edelman