Word: disneyized
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...year that Oliver and Company was released, though, something new did emerge. And it didn’t come from Disney. The trio of Martin Luthers—Touchstone Pictures, Steven Spielberg and Robert Zemeckis—marched up to the door of Hollywood and nailed to it two theses...
What followed was animation’s Renaissance. Disney, startled out of its complacent slumber and determined not to be outdone on its own turf, released The Little Mermaid in 1989. The previous year had seen Oliver and Company look essentially like every Disney animated movie before it. But The Little Mermaid was different. Its colors were brighter, its characters more clearly defined, its music simply better. Disney had broken its inertia in the world of animation technology and (after briefly dipping back into uninspired territory with The Rescuers Down Under) proved it by following The Little Mermaid with...
...Sciences “as a significant screen innovation which has charmed millions and pioneered a great new entertainment field.” That new field—the animated feature—instantly became a staple in children’s entertainment, and over the next 50 years Disney used the Snow White formula to crank out 26 more movies. If Snow White was the Classical period of animation, then everything from 1940’s Pinocchio to 1988’s Oliver and Company were its long Middle Ages. Lots of good things were made, but nothing...
...next giant leap for toonkind came from this revitalized Disney powerhouse, in conjunction with the upstart tech wizards at Pixar. In 1995 the animators dropped their pencils and turned exclusively to their computer screens, creating the first completely computer-animated feature, Toy Story. Just as they had in 1937, audiences were exposed to something stunningly unlike anything they had ever seen and, once again, they loved it, and threw their money at it. Filmmakers outside the Disney machine now realized that they could no longer afford to ignore the money-making potential of animation...
...among them who battle humans threatening the wilderness. But it alarmed and baffled parents who with their tots make up most of the U.S. animation audience. Despite voice-overs by the likes of Claire Danes, Minnie Driver and Billy Crudup and the marketing might of Miramax, a unit of Disney, it earned $3.5 million in the U.S., compared with the record-smashing $150 million it made in Japan. "Disney didn't take into account that Miyazaki didn't become a giant in Japan overnight," says Helen McCarthy, author of a book on the master animator. "The Japanese audience has grown...