Essays

The Animation of Don Bluth – Part III: Don Bluth Entertainment Struggles (1992-1995)

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Previous Parts

Part I

Part II

 

Competing against the Disney Renaissance would be a challenge for any production company, animation or otherwise. While Disney was creating consecutive masterpieces, the films coming from Bluth and his newly created studio Don Bluth Entertainment steadily declined in quality until Bluth actually disowned a film because he despised the finished product. For fans of Bluth, this is a hard period upon which to reminisce. There are isolated moments where the magic of Bluth’s skill is still apparent, but by and large this period is a straight downward spiral. We start with a story featuring a rooster Elvis Presley with amnesia. Seriously.

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The Animation of Don Bluth – Part II: Sullivan Bluth Studios and Commercial Success (1986-1989)

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Previous Parts

Part I

 

In 1985, Don Bluth, John Pomeroy and Gary Goldman joined with Morris Sullivan and formed Sullivan Bluth Studios. The studio was initial founded in Van Nuys, California, but moved to Dublin, Ireland to take advantage of various financial incentives and escape union pressures. Their first two projects were collaborations with Steven Spielberg, but they eventually pursued independent projects as well. For this short period of time in the late ‘80s, Don Bluth animation reached its pinnacle of commercial and artistic success with three spectacular films: An American Tale, The Land Before Time, and All Dogs Go to Heaven.

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Criterion Blogathon – Roman Polanski’s “Macbeth” (1971)

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Roman Polanski opens his film adaptation of William Shakespeare’s Macbeth with an establishing shot composed of equal parts cold, light blue sky and dour, grey beach. The beach begins to fill the screen as a gnarled stick starts scratching out a circle in the sand. Thus Polanski introduces his version of the witches: one of the weird sisters places a noose in the hole, another places a severed forearm grasping a dagger, and the three bury these items in the sand. The final witch then pours a vial of blood on the sand, and the three chant: “Fair is foul and foul is fair, / Hover through the fog and filthy air.” Polanski begins the scene with this couplet (it traditionally closes the scene), and completely fabricates the weird sisters’ grisly rites. This is Polanski’s vision – a grim and visceral portrayal of The Scottish Play, fully realized on the big screen:

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The Animation of Don Bluth – Part I: Leaving Disney and Early Independence (1979 – 1984)

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On September 13th, 1979 Disney animator Don Bluth turned 42 years old. He had worked as an animator on Disney feature films for the previous eight years, and was dissatisfied with the cost-cutting measures being employed there. Also, he felt that Disney had abandoned their roots of character-driven storytelling and meticulous animation in favor of churning out banal crowd-pleasers. This led Bluth, along with Gary Goldman, John Pomeroy and nine fellow Disney animators to abandon Disney and form Don Bluth Productions, their very own animation studio. Through financial struggles, ever-changing partnerships, and industry-wide strikes, Bluth and his collaborators were able to produce their own animated masterpieces which continue to delight.

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The Basics of the Romantic Realism School of Art

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The first aesthetics post on this blog sought to broadly define the philosophical field of aesthetics, tasked with the study of art and its role in human life. In it, I mentioned that there are many different viewpoints and theories in this field, and that I would be approaching the questions of aesthetics from the perspective of a particular school: Romantic Realism. So, with our foundational knowledge of aesthetics taken care of, we are now prepared to delve into this particular school of thought, which will be the focus of this piece.

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The Ages of Disney Animation – Part VII: The Computer Age Renaissance

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Previous Parts

Part I, Part II, Part III, Part IV, Part V, Part VI

In Part VII of The Seven Ages of Disney Animation, we finally reach the end of our (original*) journey: the age we currently exist in, The Computer Age Renaissance. Disney was finally able to utilize computer animation to create powerful stories and gorgeous sequences, but there are still some hand-drawn gems in this age, as well.

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The Ages of Disney Animation – Part VI: The Second Age of Inconsistency

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Previous Parts

Part I, Part II, Part III, Part IV, Part V

In Part VI of The Seven Ages of Disney Animation, we fall from the heights of the Five-Year Renaissance and into another age of inconsistency. While most Disney historians continue the Renaissance period for a few more years, I believe that the drop in quality from those films to the first few of these is sufficient to usher in a new age: The Second Age of Inconsistency.

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The Ages of Disney Animation – Part V: The Five-Year Renaissance

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Previous Parts

Part I, Part II, Part III, Part IV

In The Seven Ages of Disney Animation – Part V, we are rescued from the mundane and boring previous age and vaulted to the wonderful heights that are quintessential Disney. Those in my generation were lucky to be smack in the middle of Disney’s target demographic at this point in time, as we have not seen such consistently wonderful quality from the studio since. This is Disney’s return to form, this is Disney’s beauty realized, this is The Five-Year Renaissance.

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The Ages of Disney Animation – Part IV: The Age of Inconsistency

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Previous Parts

Part I, Part II, Part III

Nothing lasts forever, and in Part IV of The Seven Ages of Disney Animation we look at the inevitable fall from grace following Disney’s Golden Age. After the death of Walt Disney, the studio struggled to re-create the magic of the previous ages, and failed to produce a film rivaling the quality of any of their previous masterpieces. Due to the shaky quality and wandering narratives, I call this age, “The Age of Inconsistency”.

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The Ages of Disney Animation – Part III: The Golden Age

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Previous Parts

Part I, Part II

Next up in The Seven Ages of Disney Animation is a proper return-to-form for the animation studio. Where the previous age saw mashed-together package films rule in an effort to curb costs, the introduction of this age is marked by a true masterpiece reminiscent of The Age of Innovation. I speak, of course, of Cinderella, and the birthing of The Golden Age.

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