Modern animation in the United States. Modern animation of the United States from the late 1.

American animation renaissance" by Disney. During this period, many large American entertainment companies reformed and reinvigorated their cinematographic animation departments following a general decline during the 1.

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The United States has had a profound effect on animation worldwide. Disney [edit]At the start of the 1. Walt Disney Productions had been struggling since Walt Disney's death in 1.

Don Bluth and eleven other associates from the animation department dealt Disney a major blow. Bluth formed a new studio, in direct competition with Disney. Disney's "Nine Old Men", the animators responsible for Disney's most famous earlier works, and their associates began to hand their traditions down to a new generation of Disney animators. New faces such as Glen Keane, Ron Clements, John Musker, Andreas Deja, and others came to the studio in the late 1. The Rescuers, Pete's Dragon (a live- action/animation hybrid), and The Fox and the Hound, as well as the featurettes The Small One (Bluth's only Disney- directed credit) and Mickey's Christmas Carol (the first screen appearance of Mickey Mouse since 1.

At the same time, animator Steven Lisberger brought to the studio a concept about a computer programmer who is launched into a computerized world. The film would mix live action sequences with computer animation, which had not yet been used to such an extent. The studio was impressed with the idea; the result was an ambitious $1.

Modern animation of the United States from the late 1980s and 1990s onward is sometimes referred to as the "American animation renaissance" by Disney. با فروش بیش از ۲٫۸ میلیارد دلار، آواتار پرفروش‌ترین فیلم تاریخ است. البته این مبلغ فقط شامل. Title Release Year Studio MPAA Rating 0-10 Rating Critic; Guardians of the Galaxy Vol. 2 (4K Ultra HD + Blu-ray) 2017: Marvel: PG-13: 7.5: LB: Gifted (Blu-ray + DVD). The air mine, one of the largest varieties of ordnance used during the war, is of a type sometimes referred to as a blockbuster due to its ability to destroy entire. Less than a year into his presidency, Donald Trump has repeatedly defended white supremacists and self-identified Nazis, toyed with the idea of going to war with.

Tron. While Disney's stock dropped four percent after a screening for unenthusiastic investment analysts,[2] and in spite of only moderate grosses at the box office,[3]Tron received enthusiastic praise from film critic Roger Ebert,[4] became a cult favorite and turned out—many years later—to have a greater influence on animation (at Disney and elsewhere) than expected.[citation needed]In 1. Disney became the target of a corporate raid by Saul Steinberg, who intended to break up the company piece by piece.

At the same time, Roy E. Disney, who had already resigned as President in 1.

Tonight is the two-part finale of Twin Peaks: The Return, the beginning of the end of a promise that began with the words of Laura Palmer over two decades ago: “I.

Board of Directors in order to use his clout to change the status quo and improve the company's declining fortune. Disney escaped Steinberg's attempt by paying him greenmail, but in its aftermath CEO Ron W. Miller resigned, to be replaced by Michael Eisner. Roy Disney, now back on the Board as its Vice- Chairman, convinced Eisner to let him supervise the animation department, whose future was in doubt after the disappointing box office performance of its big- budget PG- rated feature, The Black Cauldron.[5] The studio's next release, The Great Mouse Detective, fared better in relation to its significantly smaller budget, but it was overshadowed by Don Bluth's An American Tail,[6] another film featuring mice characters that competed directly with Mouse Detective in theaters. In 1. 98. 8, the studio collaborated with Steven Spielberg and Robert Zemeckis, producing Who Framed Roger Rabbit, a comedic detective caper that mixed live action and animation while paying homage to the Golden Age of Cartoons.

Disney characters appeared with characters from Warner Bros., Metro- Goldwyn- Mayer, Universal Pictures and other rival studios for the first time in animation history. The film was a huge box- office success, winning four Academy Awards, reviving interest in animation made for theaters, and popularizing the in- depth study of the history and techniques of animation. Several aging legends in the business, such as Chuck Jones and Friz Freleng, suddenly found themselves the center of attention, receiving acclaim and accolades after decades of being virtually ignored by audiences and industry professionals alike. Additionally, the release of many older Disney features and short cartoons on home video, and the 1. Disney Channel, renewed interest in the studio.

Disney followed up Who Framed Roger Rabbit and its commercially successful[7] 1. Oliver & Company with The Little Mermaid, an adaptation of the Hans Christian Andersen fairy tale with songs by Broadway composers Alan Menken and Howard Ashman. Mermaid was a huge critical and commercial success, won two Academy Awards for its song score, and became the first of a series of highly successful new Disney animated features. The studio invested heavily in new technology, creating the Computer Animation Production System to be used in tandem with traditional animation techniques.

The first film to use this technology, The Rescuers Down Under, only grossed $2. However, the films that followed it, Beauty and the Beast and Aladdin, won rave reviews, received multiple Oscars, and topped the box office charts.

Beauty and the Beast would eventually become the first animated feature to win the Golden Globe Award for Best Motion Picture - Musical or Comedy and the first animated feature to be nominated for the Academy Award for Best Picture, followed by 2. Up. In 1. 99. 3, Disney released The Nightmare Before Christmas, the first feature- length stop- motion animated film.

Disney's success peaked in 1. The Lion King grossed $3. As of 2. 01. 0, The Lion King ranked as the 2. United States.[1. Subsequent Disney films such as Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan and Tarzan were box office and critical successes as well, albeit modestly so when compared to Disney's early- 1.

In 1. 99. 4, the death of Disney President and Chief Operating Officer Frank Wells, and the departure of studio chairman Jeffrey Katzenberg to co- found Dream. Works, left Michael Eisner in full control of the company. At the turn of the century, films such as Atlantis: The Lost Empire, Treasure Planet, and Home on the Range failed to meet the critical and commercial expectations set by the 1. Lilo & Stitch and The Emperor's New Groove. At the same time, the high level of popular acclaim bestowed upon Toy Story, the first film animated entirely using computer- generated imagery (CGI), sparked an industry trend. Based on the commercial success of Pixar's computer- generated animated films and other CGI fare (especially Dream. Works' Shrek, which contained numerous jabs at Katzenberg's former workplace and boss), Disney came to believe that CGI was what the public wanted—so it ceased producing traditional two- dimensional animation after Home on the Range, and switched exclusively to CGI starting with 2.

Chicken Little. Public rifts grew between the animation staff and management, as well as between Michael Eisner and Roy E. Disney. Roy resigned from the board of directors in 2. He then launched the internet site Save. Disney. com[1. 2] in an attempt to preserve the integrity of the company and to oust Eisner, who resigned in 2. Robert Iger succeeded Eisner; one of his first acts as CEO was to regain the rights to Walt Disney's first star Oswald the Lucky Rabbit from NBCUniversal (Iger did so by offering NBC the services of Al Michaels, a play- by- play host then under contract to Disney subsidiary ABC Sports, as a trade).

After Disney's acquisition of Pixar in 2. Pixar executive producer John Lasseter became Chief Creative Officer at both Pixar and Disney, with a plan to reintroduce two- dimensional animation, starting with The Princess and the Frog in 2. Television animation. After 3. 0 years of resisting offers to produce television animation, Disney finally relented once Michael Eisner, who had a background in TV, took over. The first TV cartoons to carry the Disney name, CBS' The Wuzzles and NBC's Disney's Adventures of the Gummi Bears, both premiered in the fall of 1. Breaking from standard practice in the medium, the productions enjoyed substantially larger production budgets than average, allowing for higher- quality writing and animation, in anticipation of recouping profitably in rerun syndication. While The Wuzzles only lasted a season, The Gummi Bears was a sustained success with a six- season run.

In 1. 98. 7, the TV animation division adapted Carl Barks' Scrooge Mc.

Calexit Is a Bloody, Dystopian Vision of Trump's America and the People Bold Enough To Resist It. Less than a year into his presidency, Donald Trump has repeatedly defended white supremacists and self- identified Nazis, toyed with the idea of going to war with North Korea, and stood by cluelessly as the Republican congress fought to rob millions of Americans of their healthcare. Objectively, these are dark times. When we talk about how America under Donald Trump feels dystopian, what we’re talking about is how, if left entirely unchecked and allowed to be codified, many of the Trump administration’s draconian policies and stances would transform our society into a warped, nightmarish version of itself.

As a thought exercise, envisioning a world in which Trump and his supporters are able to achieve all of their goals is an important way for his political opponents to keep sight of why the protest and resist. In Matteo Pizzolo and Amancay Nahuelpan’s Calexit from Black Mask Studios, the future where Trump’s regime has reshaped the country in its own image isn’t a matter of “what if,” but rather “what now?” In this world, the darkest timeline, everything we’ve feared about Trump has come to pass and in an act of defiance, a number of key cities throughout the state of California have said: “fuck this; I’m out.”The version of America that Calexit presents us is meant to be interpreted as a realistic one quite similar to our own save for a few key differences. In this world, one of the new American president’s first orders of business after coming into office was to deport each and every single immigrant regardless of whether or not they were documented. The then governor of California, seeing the president’s executive order an an abhorrent abuse of power, declares the entire state as a place of sanctuary that will not recognize or abide by the new law.

In an ideal world, California would metaphorically pull out of the US and become a shining, self- sufficient beacon of acceptance and welcoming, shaming the rest of the US by simply doing the truly American thing. But Pizzolo keenly understands that, realistically, California seceding would be a destabilizing event within the state itself, causing factions to rise up on both sides: those in support of the US government and those opposed. As Calexit opens, the state is in a tense, bloody holding pattern illustrated helpfully by a map. Multiple major coastal cities like San Francisco and Oakland are controlled by the Pacific Coast Sister Cities Alliance, the group who refuse to comply with the president’s executive order.

The Sovereign Citizens Coalition, those aligned with the US Federal Government, control a larger portion of the state, but given the way that resources like food, water, and power are created in California, they aren’t necessarily in an advantageous position. Skirmishes between the Federal Government- aligned Bunkerville Militants, and the Mulholland Resistance, Calexit’s freedom fighters, happen throughout the entire state, but as the story picks up, we zoom in on Zora Mc.

Nulty, a woman on the run from the authorities somewhere in Los Angeles, an occupied city caught between Resistance and Sovereign territories. As Zora breathlessly rushes to her parents’ home in the dead of the evening, we see that she isn’t just a regular person, but an important member of the resistance being targeted by a particular government agent. Moments after she and her father are briefly reunited, Zora’s forced to flee into the night because she knows that the man who’s after her will soon be upon her family. Right on cue, the agent and his men make their way into the Mc.

Nulty family’s home and begin to do what every super villain who’s ever hunted for a hero does: menacingly threaten everyone in sight as a gross showing of power that demonstrates to us just how sinister they are. Though there is much about the bespectacled villain that feels very standard- issue, it’s the parallels between the things he says and the coded, racist language that’s become a hallmark of the Trump administration that makes him uniquely terrifying. Just before fatally stabbing Zora’s adoptive father, the man points out that because her adoption took place in California, a place whose laws are no longer recognized, the adoption is considered invalid, making her an immigrant.

Or, rather, a refugee. Elsewhere in the city, Jamil, a well- known (and liked) drug smuggler is making the best of his life by staying neutral in the ongoing conflicts and making illegal deliveries for both sides. When we first meet Jamil, he’s in the process of bringing a National Guardsman anti- depressants that, if he were caught trying to buy legally, would likely have him fired. 2010 Blockbuster Cartoons Rock Dog more.

When Jamil rhetorically asks the guard why he posted to protect a statue of an elephant erected in downtown Hollywood, his drone assistant Livermore begins to describe the symbol’s historic relationship to Birth of a Nation creator D. W. Griffith and the Ku Klux Klan. As the two men debate whether something like a statue can simultaneously be a callback to a film and a monument to a man who fought for white supremacy, the guardsman is shot through the head by an unseen sniper who spares Jamil. Outmatched as Calexit’s resistance may be, they’re still very much a threat to those in positions of power. Though there is an overarching plot about the disenfranchised rising up to strike back against their autocratic oppressors, Calexit is not a feel- good story and it doesn’t make any attempts at pretending that it is. It’s bloody and violent in a way that doesn’t glorify combat as so many comics do, but is frank in the reality it’s trying to present.

Were the US ever to fall into another Civil War, senseless, brutal deaths would fundamentally change the ways that we moved through and conceived of the world. But the thing that makes Calexit such a difficult book to grapple with (in a good way!) isn’t really even the violence, which quickly becomes the everyday backdrop to the characters’ lives. It’s the fact that the authoritarian powers- that- be who gleefully participate in said violence are darker, but not entirely unfamiliar versions of people that we already know. Editor’s Note: This piece has been updated to accurately describe which areas within California are controlled by which sides of the conflict.