Walt Disney's 1939 animated feature Fantasia was

Walt Disney's 1939 animated feature Fantasia was a marriage of music and animation that drew upon all of the animation techniques in use at the time and that extended the range of the animated film to a great degree. Fantasia would also be a highly influential film, though it was not widely imitated in terms of feature films because of the great expense involved and the uncertainties of a commercial audience for to many of this type of animated film. Classical music, after all, was not widely popular in the way other forms of music were then or now, and Fantasia had the advantage of being unique in its time. The most openly imitative feature to follow would come some time later with Allegro non Troppo by Italian animator Bruno Bozzetto in 1976. Bozzetto deliberately covers much of the same territory as he takes a satiric thrust at the earlier film, and the two films show very different sensibilities, different animation styles, and a different attitude toward the audience. For all its seemingly non-commercial elements--notably the classical music and the fact that the film is a series of shorts rather than a coherent narrative--Fantasia was a commercial work produced by a commercial studio, one noted at the time primarily for its animated shorts and features and not for the live-action features that would follow. Bozzetto operates his own studio in Italy and is independent of any outside control beyond whatever commercial considerations may influence him, yet his film

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ter animation is seen in the "Sorceror's Apprentice" sequence, with music by Dukas. This music has a programmatic structure as it tells the story of a sorceror's apprentice who tries to reproduce the magic of his master with disastrous results, since the magic is not something the apprentice understands or can control. Mickey Mouse, the traditional Disney character, "plays" the apprentice. The animation here is full character animation, with separately drawn cells for each frame and with elaborate backgrounds and drawing effects to simulate the coming to life of the brooms and pails, the massing of the water, the flood, and the angry return of the sorceror to set everything right. There are certain things animation has been used for since the beginning of the art form, and one of these is transformation, the changing of one object or shape into another. Fantasia makes use of this technique throughout, as when the mushrooms transform into Oriental-like characters and dance, or when the swirling abstracts in the early sequence transform themselves into more direct representations of musical instruments. In the apprentice scenes, the brooms are transformed from brooms to malevolent automatons that march and apparently cannot

Category: Film - W