The Illusion of Life: Disney Animation by Ollie Johnston  (59)
$47.04
|
The Disney Treasures by Robert Tieman  (13)
$37.80
|
Walt Disney's Nine Old Men and the Art of Animation by John Canemaker (2)
$22.49
|
Walt Disney Treasures - Disneyland - Secrets, Stories & Magic DVD ~ Tommy Chico (56)
$22.99
|
Disney: The Ultimate Visual Guide by Cynthia O'Neill (2)
|
This item is not eligible for Amazon Prime, but millions of other items are. Join Amazon Prime today. Already a member? Sign in.
|
|||||||||
Customers Who Bought This Item Also Bought
Editorial Reviews
From Publishers Weekly
Originally published in 1973, Finch’s classic book on the artistic innovations of Walt Disney has been revised and expanded several times, and with each edition his definition of "art" becomes more suspect. The book’s original material, much of which Finch wisely retains, patiently records the art, inventions and shrewd enterprises of the studio’s legendary early years, while offering a fascinating tutorial on the birth of animation. Seventy lavishly illustrated pages are devoted to the Mickey and Donald years, another 50 to the movies Snow White and Pinocchio. Walt Disney stars in these early chapters as an artistic Icarus whose prodigal budgets and "quest for perfection" pushed his production teams to unprecedented heights. An unapologetic apologist, Finch is always there to defend Disney (whom he considers "the ultimate auteur") against critics who have called him a "backward-looking" artist and even "an advocate of political authoritarianism." Such biases aside, the book manages to tell a rousing tale of Disney’s creative life—right up to his 1965 deathbed hallucination of the yet-unrealized Epcot Center. This new edition, however, also takes on Disney’s posthumous life, when his ambitions outlive his quirky personality and are carried out by foot soldiers called "imagineers." The sundry innovations of Tim Burton, Pixar and two Broadway spinoffs may loosely qualify as the "Art of Disney," but so, too, according to Finch, do the corporation’s war chest of "toontowns," movie rides and international theme parks. Boldly blurring the line between art and money, Finch’s sprawling hagiography of the Magic Kingdom touches down for a perfect Hollywood ending: "Perhaps the greatest achievement of Michael Eisner …," it concludes, "has been to build a company in which no creative endeavor need be aborted for lack of available funding."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From Library Journal
The Art of Walt Disney was first published in 1973. This major revision (some 50 percent of the text is new, with 200 new illustrations) carries the Disney story up to such current feature films as Pocahontas and even stories in production like The Hunchback of Notre Dame. Finch (The Art of the Lion King, Hyperion, 1994) also continues his exploration of Disney's nonanimated enterprises: the live-action films, television productions, and Disney theme parks in the United States, Japan, and France. As one would expect, excellent full-color illustrations abound, although the type size has been reduced in comparison with the first edition, presumably for reasons of economy. Solomon (The History of Animation, LJ 12/95) takes a vertical approach to the Disney phenomenon, concentrating on the fascinating world of Disney-animated features that were never released for a variety of reasons. In doing so he draws on the resources of the studio's Animation Research Library, where he was able to take advantage of countless detailed drawings and notes preserved even for productions that never came to fruition?a common practice at Disney. In this volume the Disney connoisseur will learn about Disney projects like Chanticleer and Reynard, as well as a curious collaborative venture undertaken by Disney and Salvador Dali. Disney propaganda, training, and entertainment films made during World War II are detailed in one of the most fascinating chapters. Few Disney fans would associate the animation giant with such films as Four Methods of Flush Riveting or Prostitution and the War. As contributions to the history of animation, both volumes are essential for academic and American studies collections. Public libraries with limited budgets may opt for Finch's more broadly appealing book.?Janice Zlendich, California State Univ. Lib., Fullerton
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Originally published in 1973, Finch’s classic book on the artistic innovations of Walt Disney has been revised and expanded several times, and with each edition his definition of "art" becomes more suspect. The book’s original material, much of which Finch wisely retains, patiently records the art, inventions and shrewd enterprises of the studio’s legendary early years, while offering a fascinating tutorial on the birth of animation. Seventy lavishly illustrated pages are devoted to the Mickey and Donald years, another 50 to the movies Snow White and Pinocchio. Walt Disney stars in these early chapters as an artistic Icarus whose prodigal budgets and "quest for perfection" pushed his production teams to unprecedented heights. An unapologetic apologist, Finch is always there to defend Disney (whom he considers "the ultimate auteur") against critics who have called him a "backward-looking" artist and even "an advocate of political authoritarianism." Such biases aside, the book manages to tell a rousing tale of Disney’s creative life—right up to his 1965 deathbed hallucination of the yet-unrealized Epcot Center. This new edition, however, also takes on Disney’s posthumous life, when his ambitions outlive his quirky personality and are carried out by foot soldiers called "imagineers." The sundry innovations of Tim Burton, Pixar and two Broadway spinoffs may loosely qualify as the "Art of Disney," but so, too, according to Finch, do the corporation’s war chest of "toontowns," movie rides and international theme parks. Boldly blurring the line between art and money, Finch’s sprawling hagiography of the Magic Kingdom touches down for a perfect Hollywood ending: "Perhaps the greatest achievement of Michael Eisner …," it concludes, "has been to build a company in which no creative endeavor need be aborted for lack of available funding."
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.
From Library Journal
The Art of Walt Disney was first published in 1973. This major revision (some 50 percent of the text is new, with 200 new illustrations) carries the Disney story up to such current feature films as Pocahontas and even stories in production like The Hunchback of Notre Dame. Finch (The Art of the Lion King, Hyperion, 1994) also continues his exploration of Disney's nonanimated enterprises: the live-action films, television productions, and Disney theme parks in the United States, Japan, and France. As one would expect, excellent full-color illustrations abound, although the type size has been reduced in comparison with the first edition, presumably for reasons of economy. Solomon (The History of Animation, LJ 12/95) takes a vertical approach to the Disney phenomenon, concentrating on the fascinating world of Disney-animated features that were never released for a variety of reasons. In doing so he draws on the resources of the studio's Animation Research Library, where he was able to take advantage of countless detailed drawings and notes preserved even for productions that never came to fruition?a common practice at Disney. In this volume the Disney connoisseur will learn about Disney projects like Chanticleer and Reynard, as well as a curious collaborative venture undertaken by Disney and Salvador Dali. Disney propaganda, training, and entertainment films made during World War II are detailed in one of the most fascinating chapters. Few Disney fans would associate the animation giant with such films as Four Methods of Flush Riveting or Prostitution and the War. As contributions to the history of animation, both volumes are essential for academic and American studies collections. Public libraries with limited budgets may opt for Finch's more broadly appealing book.?Janice Zlendich, California State Univ. Lib., Fullerton
Copyright 1995 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Product Details
Would you like to update product info or give feedback on images?
|
Look Inside This Book
Citations
(learn more)
51
books
cite this book:
See all 51 books citing this book
- Walt Disney and the Quest for Community (Design & the Built Environment) by Steve Mannheim on 5 pages
- Understanding Disney: The Manufacture of Fantasy by Janet Wasko on 4 pages
- The Myth of the American Superhero by Robert Jewett in Back Matter (1), Back Matter (2), and Back Matter (3)
- A Reader in Animation Studies by Jayne Pilling on page 146, and page 159
- The Illusion of Life: Disney Animation by Ollie Johnston on page 80, and Back Matter
See all 51 books citing this book
What Do Customers Ultimately Buy After Viewing This Item?
 |
65% buy |