Фантазия (мультфильм, 1940) смотреть онлайн бесплатно в хорошем качестве

Фантазия (мультфильм, 1940) смотреть онлайн бесплатно в хорошем качестве Женщине

1940–1941 roadshows with fantasound

Фантазия (мультфильм, 1940) смотреть онлайн бесплатно в хорошем качестве

The Broadway Theatre.

RKO balked at the idea of distributing Fantasia, which is described as a «longhair musical», and believed its duration of two hours and five minutes plus intermission was too long for a general release. It relaxed its exclusive distribution contract with Disney, which wanted a more prestigious exhibit in the form of a limited-run roadshow attraction.

Thirteen roadshows were held across the United States, each involving two daily screenings with seat reservations booked in advance at higher prices and a fifteen-minute intermission. Disney hired film salesman Irving Ludwig to manage the first eleven engagements, who was given specific instructions regarding each aspect of the film’s presentation, including the setup of outside theater marquees and curtain and lighting cues.

The first roadshow opened at the Broadway Theatre in New York City on November 13, 1940. The Disneys had secured a year’s lease with the venue that was fully equipped with Fantasound, which took personnel a week working around the clock to install. Proceeds made on the night went to the British War Relief Society for the efforts in the Battle of Britain.

Ticket demand was so great that eight telephone operators were employed to handle the extra calls while the adjoining store was rented out to cater the box office bookings. Fantasia ran at the Broadway for forty-nine consecutive weeks, the longest run achieved by a film at the time. Its run continued for a total of fifty-seven weeks until February 28, 1942.

The remaining twelve roadshows were held throughout 1941, which included a thirty-nine week run at the Carthay Circle Theatre in Los Angeles from January 29. Fantasia broke the long-run record at the venue in its twenty-eighth week; a record previously held by Gone with the Wind.

Its eight-week run at the Fulton Theatre in Pittsburgh attracted over 50,000 people with reservations being made from cities located one hundred miles from the venue. Engagements were also held at the Geary Theatre in San Francisco for eight months, the Hanna Theatre in Cleveland for nine weeks, the Majestic Theatre in Boston, the Apollo Theater in Chicago, and also in Philadelphia, Detroit, Buffalo, Minneapolis, Washington, D.C., and Baltimore.

1942, 1946, 1956, and 1963 runs

Disney allowed RKO to handle the general release of Fantasia but fought their decision to have the film cut. He gave in as the studio needed as much income as possible to remedy its finances, but refused to cut it himself: «You can get anybody you want to edit it…I can’t do it.

» With no input from Disney, musical director Ed Plumb and Ben Sharpsteen reduced Fantasia first to an hour and forty minutes, then to an hour and twenty minutes by removing most of Taylor’s commentary and the Toccata and Fugue segment.

RKO reissued Fantasia once more on September 1, 1946, with the animated sequences complete and the scenes of Taylor, Stokowski, and the orchestra restored but shortened. Its running time was restored to one hour and fifty-five minutes. This edit would be the standard form for subsequent re-releases and was the basis for the 1990 restoration.

«I wanted a special show just like Cinerama plays today…I had Fantasia set for a wide screen. I had dimensional sound…To get that widescreen I had the projector running sideways…I had the double frame. But I didn’t get to building my cameras or my projectors because the money problem came in…The compromise was that it finally went out standard with dimensional sound. I think if I’d had the money and I could have gone ahead I’d have a really sensational show at that time. «
—Walt Disney on the widescreen release in 1956.

By 1955, the original sound negatives began to deteriorate, though a four-track copy had survived in good condition. Using the remaining Fantasound system at the studio, a three-track stereo copy was transferred across telephone wires onto the magnetic film at an RCA facility in Hollywood.

This copy was used when Fantasia was reissued in stereo by Buena Vista Distribution in SuperScope, a derivative of the anamorphic widescreen CinemaScope format, on February 7, 1956. The projector featured an automatic control mechanism designed by Disney engineers that was coupled to a variable anamorphic lens, which allowed the picture to switch between its Academy standard aspect ratio of 1.33:

1 to the wide ratio of 2.35:1 in twenty seconds without a break in the film. This was achieved by placing the cues that controlled the mechanism on a separate track in addition to the three audio channels. Only selected parts of the animation were stretched, while all live action scenes remained unchanged.

Design and animation

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Walt Disney acting out a scene in The Sorcerer’s Apprentice for Taylor and Stokowski.

Animation on The Sorcerer’s Apprentice began on January 21, 1938, when James Algar, the director of the segment, assigned animator Preston Blair to work on the scene when Mickey Mouse wakes from his dream. Each of the seven hundred members of staff at the time received a synopsis of the Goethe tale and were encouraged to complete a twenty-question form that requested their ideas on what action might take place.

Layout artist Tom Codrick created what Dick Huemer described as «brilliantly colored thumbnails» from preliminary storyboard sketches using gouache paints, which featured the bolder use of color and lighting than any previous Disney short. Mickey was redesigned by animator Fred Moore who added pupils for the first time to achieve greater ranges of expression.

Disney had been interested in producing abstract animation since he saw A Color Box by Len Lye from 1935. He explained the work done in the Toccata and Fugue was «no sudden idea…they were something we had nursed along several years but we never had a chance to try».

Preliminary designs included those from effects animator Cy Young, who produced drawings influenced by the patterns on the edge of a piece of sound film. In late 1938 Disney hired Oskar Fischinger, a German artist who had produced numerous abstract animated films, including some with classical music, to work with Young.

Upon review of three leica reels produced by the two, Disney rejected all three. According to Huemer all Fishinger «did was little triangles and designs…it didn’t come off at all. Too dinky, Walt said. » Fischinger, like Disney, was used to having full control over his work and was not used to working in a group.

Feeling his designs were too abstract for a mass audience, Fishinger left the studio in frustration, before the segment was completed, in October 1939. Disney had plans to make the Toccata and Fugue an experimental three-dimensional film, with audiences being given cardboard stereoscopic frames with their souvenir programs, but this idea was abandoned.

In The Nutcracker Suite, animator Art Babbitt is said to have credited The Three Stooges as a guide for animating the dancing mushrooms in the Chinese Dance routine. He drew with a music score pinned to his desk to work out the choreography so he could relate the action to the melody and the counterpoint, «those nasty little notes underneath…so something has to be related to that».

The studio filmed professional dancers Joyce Coles and Marjorie Belcher wearing ballet skirts that resembled shapes of blossoms that were to sit above water for Dance of the Flutes. An Arabian dancer was also brought in to study the movements for the goldfish in Arab Dance.

An early concept for The Rite of Spring was to extend the story to the age of mammals and the first humans and the discovery of fire and man’s triumph. John Hubley, the segment’s art director, explained that it was later curtailed by Disney to avoid controversy from creationists, who promised to make trouble should he connect evolution with humans.

To better understand the history of the planet, the studio received guidance from Roy Chapman Andrews, the director of the American Museum of Natural History, English biologist Julian Huxley, paleontologist Barnum Brown, and astronomer Edwin Hubble.

Animators studied comets and nebulae at the Mount Wilson Observatory and observed a herd of iguanas and a baby alligator brought into the studio. The camera was kept at a low position throughout the segment to heighten the immensity of the dinosaurs.

For inspiration on the routines in Dance of the Hours, animators studied real life ballet performers including Marge Champion and Irina Baronova. Animator John Hench was assigned to work on the segment but resisted as he knew little about ballet.

Disney then gave Hench season tickets to the Ballet Russe de Monte Carlo with backstage access so he could learn more about it. Béla Lugosi, best known for his role in Dracula, was brought in to provide reference poses for Chernabog. As animator Bill Tytla disliked the results, he used his colleague Wilfred Jackson to pose shirtless which gave him the images he needed.

Over one thousand artists and technicians were used in the making of Fantasia, which features over 500 characters. Segments were color-keyed scene by scene, so the colors in a single shot would harmonize between proceeding and following ones.

Before a segment’s narrative pattern was complete, an overall color scheme was designed to the general mood of the music and patterned to correspond with the development of the subject matter. The studio’s character model department would also sculpt three-dimensional clay models so the animators could view their subjects from all angles.

Development

Taylor arrived at the studio one day after a series of meetings began to select the musical pieces for The Concert Feature. Disney made story writers Joe Grant and Dick Huemer gather a preliminary selection of music and along with Stokowski, Taylor, and the heads of various departments, discussed their ideas.

Each meeting was recorded verbatim by stenographers with participants being given a copy of the entire conversation for review. As selections were considered, a recording of the piece was located and played back at the next gathering. Disney did not contribute much to early discussions; he admitted that his knowledge of music was instinctive and untrained.

In one meeting, he inquired about a piece «on which we might build something of a prehistoric theme…with animals.» The group was considering The Firebird by Igor Stravinsky, but Taylor noted that his «Le Sacre du printemps would be something on that order,» to which Disney replied upon hearing a recording, «This is marvelous!

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Numerous choices were discarded as talks continued, including Moto Perpetuo by Niccolò Paganini with «shots of dynamos, cogs, pistons, and whirling wheels» to show the production of a collar button. Other deletions were Prelude in G minor and Troika by Sergei Rachmaninoff and a rendition of «The Song of the Flea» by Mussorgsky which was to be sung by Lawrence Tibbett.

On September 29, 1938, around sixty of Disney’s artists gathered for a two-and-a-half hour piano concert while he provided a running commentary about the new musical feature. A rough version of The Sorcerer’s Apprentice was also shown that, according to one attendee, had the crowd applauding and cheering «until their hands were red.

» The final pieces were chosen the following morning, which included Toccata and Fugue in D minor, Cydalise et le Chèvre-pied by Gabriel Pierné, The Nutcracker Suite, Night on Bald Mountain, Ave Maria, Dance of the Hours, Clair de Lune by Claude Debussy, The Rite of Spring, and The Sorcerer’s Apprentice.

Clair de Lune was soon removed from the Fantasia program, but Disney and his writers encountered problems setting a concrete story to Cydalise. Its opening march, «The Entry of the Little Fauns», attracted Disney to the piece, which at first provided suitable depictions of fans he wanted.

On January 5, 1939, following a search for a stronger piece to fit the mythological theme, the piece was replaced with Beethoven’s sixth symphony sections. Stokowski disagreed with the switch, believing that Disney’s «idea of mythology…is not quite what this symphony is about.

» He was also concerned about the reception from classical music enthusiasts who would criticize Disney for venturing too far from the composer’s intent. On the other hand, Taylor welcomed the change, describing it as «a stunning one», and saw «no possible objection to it.»

The new feature continued to be known as The Concert Feature or Musical Feature as late as November 1938. Hal Horne, a publicist for Disney’s film distributor RKO Radio Pictures, wished for a different title and gave the suggestion Filmharmonic Concert.

Stuart Buchanan then held a contest at the studio for a title that produced almost 1,800 suggestions including Bach to Stravinsky and Bach and Highbrowski by Stokowski. Still, the favorite among the film’s supervisors was Fantasia, an early working title that had even grown on Horne, «It isn’t the word alone but the meaning we read into it.

» From the beginning of its development, Disney expressed the greater importance of music in Fantasia compared to his past work: «In our ordinary stuff, our music is always under action, but on this…we’re supposed to be picturing this music — not the music fitting our story.

Fantasound

The Disney brothers contacted David Sarnoff of RCA regarding the manufacture of a new system that would «create the illusion that the actual symphony orchestra is playing in the theater». Sarnoff backed out at first due to financial reasons but agreed in July 1939 to make the equipment so long as the Disneys could hold down the estimated 200,000 dollars in costs.

Though it was not exactly known how to achieve their goal, engineers at Disney and RCA investigated many ideas and tests made with various equipment setups. The collaboration led to the development of Fantasound, a pioneering stereophonic surround sound system which innovated some processes widely used today, including simultaneous multi-track recording, overdubbing, and noise reduction.

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Disney’s chief sound engineer William Garity.

Fantasound employed two projectors running at the same time. With one containing the picture film with a mono soundtrack for backup purposes, the other ran a sound film that was mixed from the eight tracks recorded at the Academy to four: three of which contained the audio for the left, center, and right stage speakers respectively, while the fourth became a control track with amplitude and frequency tones that drove variable-gain amplifiers to control the volume of the three audio tracks.

In addition were three «house» speakers placed on the left, right, and center of the auditorium that derived from the left and right stage channels, which acted as surround channels. Finally, as the original recording was captured at almost peak modulation to increase the signal-to-noise ratio, the control track was used to restore the dynamics to where Stokowski thought they should be.

The illusion of sound traveling across the speakers was achieved with a device named the «pan pot», which directed the predetermined movement of each audio channel with the control track. Mixing the soundtrack required six people to operate the various pan pots in real-time, while Stokowski directed each level and pan change marked on his musical score.

Disney ordered eight three-color oscillators from the newly-established Hewlett-Packard company to monitor the recording levels at lower frequencies, a predecessor from VU meters used today. Between the individual takes, prints, and remakes, approximately three million feet of sound film was used in the production of Fantasia. Almost a fifth of the film’s budget was spent on its recording techniques.

Intermission/meet the soundtrack

  • Directed by Ben Sharpsteen and David D. Hand
  • Key animation by Joshua Meador

Deems Taylor announces a fifteen-minute intermission following the conclusion of The Rite of Spring. The musicians are seen departing the orchestra stand, and the doors close to reveal a title card. In a proper roadshow of Fantasia, the theater’s curtains would close simultaneously with the closing doors on the screen, and the title card would remain projected for fifteen minutes while the guests are briefly excused.

After the intermission, a «jam session» in the orchestra is started by a bassist playing a jazzed-up version of a theme from the third movement of the Pastoral Symphony, which the clarinetist and other instruments take up. This is followed immediately by the brief Meet the Soundtrack sequence, which gives audiences a stylized example of how sound is rendered as waveforms to record the music for Fantasia.

The instruments are a harp, violin, flute, trumpet, bassoon, and percussion including the bass drum, snare drum, cymbals, and triangle.

  • Musical score: Ludwig van Beethoven – Symphony No. 6 in F, Op.68 «Pastorale»
  • Directed by Hamilton Luske, Jim Handley, and Ford Beebe
  • Story development: Otto Englander, Webb Smith, Erdman Penner, Joseph Sabo, Bill Peet, and George Stallings
  • Character designs: James Bodrero, John P. Miller, Lorna S. Soderstrom
  • Art direction: Hugh Hennesy, Kenneth Anderson, J. Gordon Legg, Herbert Ryman, Yale Gracey, and Lance Nolley
  • Background painting: Claude Coats, Ray Huffine, W. Richard Anthony, Arthur Riley, Gerald Nevius, and Roy Forkum
  • Animation supervision: Fred Moore, Ward Kimball, Eric Larson, Art Babbitt, Ollie Johnston, and Don Towsley
  • Animation: Berny Wolf, Jack Campbell, Jack Bradbury, James Moore, Milt Neil, Bill Justice, John Elliotte, Walt Kelly, Don Lusk, Lynn Karp, Murray McClellan, Robert W. Youngquist, and Harry Hamsel

The Pastoral Symphony utilized delicate color styling to depict a mythical ancient Greek world of centaurs, families of pegasi, the gods of Mount Olympus, fauns, cupids, unicorns, and other legendary creatures and characters of classical mythology.

It tells the story of the mythological creatures gathering for a festival to honor Bacchus, the god of wine riding his horned donkey, Jacchus, which is disturbed by Zeus, who decides to amuse himself by throwing lightning bolts at the attendees.

Disney originally intended to use Cydalise by Gabriel Pierné as the music for the mythological section of the program. However, due to problems fitting the story to the music, the decision was made to abandon Cydalise for other music.

This portion of the film was criticized for brief yet blatant nudity on the female centaurs. Other criticisms center on the racial images of a female centaur servant named Sunflower, who is part African human, part donkey, and two attendants to Bacchus, who are part African Amazons, part zebra.

  • Musical score: Amilcare Ponchielli – La Giaconda: Dance of the Hours
  • Directed by T. Hee and Norm Ferguson
  • Character designs: Martin Provensen, James Bodrero, Duke Russell, Earl Hurd
  • Art direction: Kendall O’Connor, Harold Doughty, and Ernest Nordli
  • Background painting: Albert Dempster and Charles Conner
  • Animation supervision: Norm Ferguson
  • Animation: John Lounsbery, Howard Swift, Preston Blair, Hugh Fraser, Harvey Toombs, Norman Tate, Hicks Lokey, Art Elliott, Grant Simmons, Ray Patterson, and Franklin Grundeen.

The dancers of the morning are represented by Madame Upanova and her ostrich students. The dancers of the afternoon are represented by Hyacinth Hippo and her hippo servants. (For this section the piece is expanded by a modified and reorchestrated repetition of the «morning» music.)

The dancers of the sunset are represented by Elephanchine and her bubble-blowing elephant troupe. The dancers of the night are represented by Ben Ali Gator and his rival alligators. The finale sees the chaotic chase that ensues between all of the characters seen in the segment until they eventually decide to dance together.

The segment ends with the palace collapsing in on itself.

  • Musical score:
    • Modest Mussorgsky – Night on Bald Mountain
    • Franz Schubert – Ave Maria
  • Directed by Wilfred Jackson
  • Story development: Campbell Grant, Arthur Heinemann, and Phil Dike
  • Art direction: Kay Nielsen, Terrell Stapp, Charles Payzant, and Thor Putnam
  • Background painting: Merle Cox, Ray Lockrem, Robert Storms, and W. Richard Anthony
  • Special English lyrics for Ave Maria by Rachel Field
  • Choral director: Charles Henderson
  • Operatic solo: Julietta Novis
  • Animation supervision: Vladimir Tytla
  • Animation: John McManus, William N. Shull, Robert W. Carlson, Jr., Lester Novros, and Don Patterson
  • Special animation effects: Joshua Meador, Miles E. Pike, John F. Reed, and Daniel MacManus
  • Special camera effects: Gail Papineau and Leonard Pickley

The Night on Bald Mountain segment is a showcase for animator Bill Tytla, who gave the demon Chernabog a power and intensity rarely seen in Disney films. The devil known as Chernabog summons from their graves, empowered restless souls.

The horror of the demons, ghosts, skeletons, vultures, ravens, firewomen, monstrous imps, witches, harpies, and other evil creatures in Night on Bald Mountain comes to an abrupt end with the sounds of church bells, which send Chernabog and his followers back into hiding, and the multiplane camera tracks away from Bald Mountain to reveal a line of faithful robed religious figures with lighted torches.

Origins

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Leopold Stokowski.

In 1936, Walt Disney felt that the studio’s star character, Mickey Mouse, needed a boost in popularity. He decided to feature the mouse in The Sorcerer’s Apprentice, a deluxe cartoon short based on the poem written by Johann Wolfgang von Goethe and set to the orchestral piece by Paul Dukas, that was also inspired by the original tale.

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The concept of matching animation to classical music was used as early as 1928 in Disney’s cartoon series, the Silly Symphonies, but he wanted to go beyond the usual slapstick, and produce shorts in which, as he put it, «sheer fantasy unfolds…action controlled by a musical pattern has great charm in the realm of unreality.

» Upon receiving the rights to use the music by the end of July 1937, Disney considered using a well-known conductor to record the music for added prestige. He just happened to meet Leopold Stokowski, conductor of the Philadelphia Orchestra since 1912, at a restaurant in Hollywood by chance and discussed his plans for the short. Stokowski was happy to collaborate on the project and offered to conduct the piece at no cost.

Following their meeting, Disney’s New York representative ran into Stokowski on a train headed for the East. In writing to Disney, he reported that Stokowski was «really serious in his offer to do the music for nothing. In addition, he had some very interesting ideas on instrumental coloring, which would be perfect for an animation medium.

» In his excited response, Disney wrote that he felt «all steamed up over the idea of Stokowski working with us…The union of Stokowski and his music, together with the best of our medium, would be the means of a success and should lead to a new style of motion picture presentation.

» He had already begun working on a story outline and wished to use «the finest men…from color…down to animators» on the short. The Sorcerer’s Apprentice was to be promoted as a «special» and rented to theaters as a unique film, outside of the Mickey Mouse cartoon series.

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Deems Taylor.

An agreement signed by Disney and Stokowski on December 16, 1937, allowed the conductor to «select and employ a complete symphony orchestra» for the recording. Disney hired a stage at the Culver Studios in California for the session. It began at midnight on January 9, 1938, and lasted for three hours using eighty-five Hollywood musicians.

As production costs of the short film climbed to $125,000, it became clearer to Disney and his brother Roy, who managed the studio’s finances, that the short could never earn such a sum back on its own. Roy suggested keeping any additional costs to a minimum.

He said, «Because of its very experimental and unprecedented nature…we have no idea what can be expected from such a production.» Ben Sharpsteen, a production supervisor on Fantasia, noted that its budget was three to four times greater than the usual Silly Symphony, but Disney «saw this trouble in the form of an opportunity.

Program description

The host and narrator of the film, Deems Taylor, introduces each piece in the program and gives background on the composer’s original intent. Of course, there was no intent to deceive anyone into thinking that Disney’s interpretation was the «original intent» of the composer.

Some of the selections were shortened from their full length, for the sake of the film’s running time. Of the eight pieces, four are presented virtually complete: Toccata and Fugue, The Sorcerer’s Apprentice, the Dance of the Hours (which is actually expanded), and the Ave Maria.

The Nutcracker Suite is shorn of its Miniature Overture and March, the twenty-five minute Rite of Spring (the longest segment in the film) is ten minutes shorter than the original 35-minute work, and the Pastoral Symphony segment is performed in a 20-minute version rather than Beethoven’s complete 40-minute original. There are also small internal omissions in Night on Bald Mountain.

Fantasia was produced on a budget of $2,280,000, to which $400,000 — nearly a fifth of the budget — went to the musical recording techniques.

  • Musical score: Johann Sebastian Bach – Toccata and Fugue in D Minor BWV 565 (Stokowski’s own orchestration)
  • Directed by Samuel Armstrong
  • Story development: Lee Blair, Elmer Plummer, and Phil Dike
  • Art direction: Robert Cormack
  • Background painting: Joe Stahley, John Hench, and Nino Carbe
  • Visual development: Oskar Fischinger
  • Animation: Cy Young, Art Palmer, Daniel MacManus, George Rowley, Edwin Aardal, Joshua Meador, and Cornett Wood

Fantasia begins immediately (there are no opening credits or logos of any sort) with the curtains being opened to reveal an orchestra stand. Musicians are seen ascending the stand, taking their seats, and tuning their instruments. Master of ceremonies Deems Taylor arrives and delivers an introduction to the film.

The first third of the Toccata and Fugue is in live-action and features an orchestra playing the piece, illuminated by abstract light patterns set in time to the music and backed by stylized (and superimposed) shadows. The first few parts of the piece are played in each of the three sound channels (first left, then right, then the middle, then all of them) as a demonstration of Fantasound.

The number segues into an abstract animation piece—a first for the Disney studio—set in time to the music. Toccata and Fugue was inspired primarily by the work of German abstract animator Oskar Fischinger, who had actually worked for a brief time on this segment.

Although the Philadelphia Orchestra recorded the music for the film (excepting The Sorcerer’s Apprentice), they do not appear onscreen; the orchestra used onscreen in the film is made up of local Los Angeles musicians and Disney studio employees like Jimmy MacDonald and Paul Smith, who mime to the prerecorded tracks by Stokowski and the Philadelphia Orchestra.

  • Musical score: Pyotr Ilyich Tchaikovsky – Nutcracker Suite Op. 71a
  • Directed by Samuel Armstrong
  • Story development: Sylvia Moberly-Holland, Norman Wright, Albert Heath, Bianca Majolie, and Graham Heid
  • Character designs: John Walbridge, Elmer Plummer, and Ethel Kulsar
  • Art direction: Robert Cormack, Al Zinnen, Curtiss D. Perkins, Arthur Byram, and Bruce Bushman
  • Background painting: John Hench, Ethel Kulsar, and Nino Carbe
  • Animation: Art Babbitt, Les Clark, Don Lusk, Cy Young, and Robert Stokes
  • Choreography: Jules Engel

The Nutcracker Suite, a selection of pieces from Tchaikovsky’s classic ballet, is a personified depiction of the changing of the seasons; first from summer to autumn, and then from autumn to winter. Unlike the ballet, this version has no plot.

It features a variety of dances, just as in the original, but danced by animated fairies, fish, flowers, mushrooms, and leaves; no actual nutcracker is ever seen in this version. Many elements are rendered carefully and painstakingly using techniques such as dry brush and airbrush. The musical segments are as follows:

As dawn breaks over a meadow, during the «Dance of the Sugar Plum Fairy»; tiny fairies sprinkle drops of dew on every flower and stern.

A cluster of tiny mushrooms, dressed in long robes and coolie hats resembling Chinese (plus one little mushroom always out-of-step), perform the «Chinese Dance.»

Multicolored blossoms shaped like ballerinas perform the «Dance of the Flutes.»

A school of underwater goldfish performs a graceful «Arab Dance.»

High-kicking thistles, dressed like Cossacks, and orchids dressed like lovely Russian peasant girls, join together for the wild «Russian Dance.»

In the final musical segment, «Waltz of the Flowers,» autumn fairies color everything they touch brown and gold with their wands. Then the frost fairies arrive and everything becomes part of an icy, jewellike pattern among falling snowflakes.

One quaint novelty of the full-length roadshow version of Fantasia is that during his commentary on the Nutcracker Suite, Deems Taylor observes that the complete ballet The Nutcracker «is never performed anymore.

» The United States did not see a complete staging of the Nutcracker until 1944, four years after Fantasia, and George Balanchine’s 1954 staging with the New York City Ballet established the modern tradition of performing the ballet at Christmas time.

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Sorcerer Mickey

  • Musical score: Paul Dukas – The Sorcerer’s Apprentice
  • Directed by James Algar
  • Story development: Perce Pearce and Carl Fallberg
  • Art direction: Tom Codrick, Charles Phillipi, and Zack Schwartz
  • Background painting: Claude Coats, Stan Spohn, Albert Dempster, and Eric Hansen
  • Animation supervisors: Fred Moore and Vladimir «Bill» Tytla
  • Animation: Les Clark, Riley Thompson, Marvin Woodward, Preston Blair, Edward Love, Ugo D’Orsi, George Rowley, and Cornett Wood

The Sorcerer’s Apprentice, perhaps the best-known Mickey Mouse short after his debut in Steamboat Willie (1928), was adapted from Goethe’s poem «Der Zauberlehrling». It is the story of wizard Yen Sid’s ambitious, but lazy, assistant who attempts to work some of the magical feats of his master before he knows how to properly control them. Mickey plays the role of the apprentice.

After the music ends, Mickey and conductor Leopold Stokowski, seen in silhouette, congratulate each other with a live-action/animation handshake. In the original roadshow version, after Mickey leaves, Deems Taylor and the musicians applaud Mickey and Stokowski.

  • Musical score: Igor Stravinsky – The Rite of Spring
  • Directed by Bill Roberts and Paul Satterfield
  • Story development/research: William Martin, Leo Thiele, Robert Sterner, and John Fraser McLeish
  • Art direction: McLaren Stewart, Dick Kelsey, and John Hubley
  • Background painting: Ed Starr, Brice Mack, and Edward Levitt
  • Animation supervision: Wolfgang Reitherman and Joshua Meador
  • Animation: Philip Duncan, John McManus, Paul Busch, Art Palmer, Don Tobin, Edwin Aardal, and Paul B. Kossoff
  • Special camera effects: Gail Papineau and Leonard Pickley

Disney’s interpretation of The Rite of Spring features a condensed version of the history of the Earth from the formation of the planet to the first living creatures to the age, reign, and extinction of the dinosaurs. The sequence showcased realistically animated prehistoric creatures including Tyrannosaurus Rex, Dimetrodon, Parasaurolophus, Apatosaurus, Triceratops, Ornithomimus, and Stegosaurus (see list of dinosaurs used), and used extensive and complicated special effects to depict volcanoes, boiling lava, and earthquakes.

The large carnivorous dinosaur attacking the Stegosaurus is a villainous Tyrannosaurus rex according to the preliminary introduction to the segment by Deems Taylor, and concept sketches by the artists. Disney also changed the order of the movements in the piece.

The segment, after beginning with the first, second, and third movements, omits the fourth and reorders all the others. The Danse de la terre is placed near the end of the cartoon rather than midway through the work. At the end, the orchestra replays the slow introduction to the Rite, which does not happen in the original work.

The roadshow version of the film features a humorous moment omitted from the general release version. When Deems Taylor announces the title of the work, there is a sudden loud crash in the percussion section, and we see that the chimes player has accidentally fallen against his instrument. He sheepishly gets up, to the amused chuckling of Taylor and the other musicians.

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Recording

Фантазия (мультфильм, 1940) смотреть онлайн бесплатно в хорошем качестве

The Philadelphia Academy of Music.

Disney wanted to experiment with more sophisticated sound recording and reproduction techniques for Fantasia. «Music emerging from one speaker behind the screen sounds thin, tinkly, and strainy. We wanted to reproduce such beautiful masterpieces…so that audiences would feel as though they were standing at the podium with Stokowski.

» For the recording of The Sorcerer’s Apprentice in January 1938, engineers at Disney collaborated with RCA Corporation for using multiple audio channels, which allowed any desired dynamic balance to be achieved upon playback. In addition, the stage was altered acoustically with double plywood semi-circular partitions that separated the orchestra into five sections to increase reverberation.

On January 18, 1939, Stokowski signed an eighteen-month contract with Disney to conduct the remaining pieces with the Philadelphia Orchestra. Recording began that April and lasted for seven weeks at the Academy of Music, the orchestra’s home, which was chosen for its excellent acoustics.

Thirty-three microphones were placed around the orchestra in the recording sessions that captured the music onto eight optical sound recording machines placed in the hall’s basement. Each one represented an audio channel that focused on a different section of instruments: cellos and basses, violins, brass, violas, and woodwinds, and timpani.

The seventh channel was a combination of the first six, while the eighth provided an overall sound of the orchestra at a distance. A ninth was later added to provide a click track function for the animators to time their drawings to the music. In the forty-two days of recording, 483,000 feet of film was used.

Disney paid all the expenses, including the musician’s wages, stage personnel, a music librarian, and the orchestra’s manager, that cost almost $18,000. When the finished recordings arrived at the studio, a meeting was held on July 14, 1939, to allow the artists working on each segment to listen to Stokowski’s arrangements and suggest alterations in the sound to work more effectively with their designs.

Video games

In 1991, a side-scrolling eponymous video game developed by Infogrames was released for the Sega Mega Drive/Genesis system. The player controls Mickey Mouse, who must find missing musical notes scattered across four elemental worlds based upon the film’s segments.

There are several film reel levels based on some of the movie’s segments such as Sorcerer’s Apprentice and Night on Bald Mountain that appear in the Epic Mickey games. Yen Sid and Chernabog also make cameo appearances in the games (Yen Sid narrates the openings and endings of the two games and served as the creator of the Wasteland.

The Disney/Square Enix crossover game series Kingdom Hearts features Chernabog as a boss in the first installment. The Night on Bald Mountain piece is played during the fight. Yen Sid appears frequently in the series beginning with Kingdom Hearts II, voiced in English by Corey Burton.

Symphony of Sorcery, a world based on the movie, appears in Kingdom Hearts 3D: Dream Drop Distance. Like the Timeless River world in Kingdom Hearts II, it is featured as a period of Mickey Mouse’s past.

A music game based on the film, Fantasia: Music Evolved has been developed by Harmonix in association with Disney Interactive. The game, which was developed for Xbox 360 and Xbox One, uses the Kinect device to put players in control of music in a manner similar to Harmonix’ previous rhythm games, affecting the virtual environment and interactive objects within it. The game is based on licensed contemporary rock music such as Queen and Bruno Mars.

Sorcerer Mickey is also a purchasable character for Disney Infinity.

Зачем людям нужны воображение и фантазия

Некоторые люди ошибочно полагают, что воображение и композиция — это пустые занятия, не имеющие применения. Но хорошо развитое воображение — это основа творческого мышления, которое так ценится в современном обществе.

Только подумайте: мы не просто подчиняемся своим инстинктам. Вместо этого мы мечтаем, имеем амбиции, ставим цели и наслаждаемся красотой жизни. Вы не можете мечтать, если не представляете себе объект своей мечты. Так что наличие воображения — это то, что отличает людей от животных.

Вот несколько причин, почему воображение — полезная вещь:

  1. Воображение позволяет вам расти. Если вы будете строить планы только на основе опыта, вы не сможете ничего изменить и создать. Воображение расширяет ваши границы и позволяет ставить цели, которых вы раньше не достигали.
  2. Воображение помогает быстрее решать проблемы. Вместо того чтобы пытаться делать «бизнес как обычно», люди с активным воображением придумывают новые стратегии и быстрее решают проблемы. Это называется творческим мышлением.
  3. Воображение ведет к открытиям. Например, Альберт Эйнштейн представлял себе место, где люди могли бы остановить время и навсегда запечатлеть лучшие моменты своей жизни. В конечном итоге эти размышления привели его к созданию общей теории относительности, которая изменила представление человечества о времени. И без воображения люди по сей день считают время фиксированной величиной.
  4. Воображение дало миру новые изобретения. Полет на самолете, разговор по телефону, горячая вода в ванной — все это началось с воображения. Люди хотели летать как птицы, разговаривать с далекими людьми, не замерзать в ванной. Список можно продолжать еще долго. Все эти классные вещи вокруг нас существуют благодаря воображению.
  5. Любое творчество начинается с воображения. Без воображения и фантазии не было бы ни музыки Бетховена, ни кинематографической вселенной Marvel, ни всех тех историй, которые начинаются с «Однажды». Видели ли вы необычное, красивое здание? Архитектор увидел это первым в своем воображении. Воображение и творчество — понятия неразделимые.
  6. Воображение позволяет видеть красоту. Слышали ли вы поговорку «это действует на воображение»? Музыка, живопись, красивый вид из окна, звездное небо, золотые деревья ранней осенью…. Мы воспринимаем все эти вещи через наше воображение, поэтому и видим красоту. Скажем так: человек без воображения не может долго смотреть на горящий огонь или текущую воду. Хотя есть кошки, которые могут долго смотреть в одну точку. Но я думаю, что дело в другом.

Отличным примером человека с активным воображением является Стивен Хокинг. В своем воображении он побывал во многих уголках Вселенной, исследуя ее и удивляясь ее великолепию. Открытия Хокинга в области космологии и квантовой гравитации были сделаны прямо из инвалидного кресла, к которому он был прикован большую часть своей жизни. Человек без воображения и фантазии не способен на такое.

Фантазия

«Фантазия» (англ. «Fantasia») – классический полнометражный музыкальный мультфильм компании Уолта Диснея. «Фантазия» стала одним из самых смелых экспериментов в мире кино.

Фильм состоит из семи эпизодов, музыкальным фоном в которых служат восемь классических произведений. Каждая из частей фильма выполнена в собственной стилистике и сюжетно самостоятельна, а в качестве связующих звеньев между ними выступают небольшие киновставки с участием Филадельфийского оркестра под руководством Леопольда Стоковски.

Фильм начинается как спектакль: в полумраке поднимается занавес, на синем фоне проявляются силуэты музыкантов, сопровождаемые шумом настраиваемых инструментов. Рассказчик приветствует зрителей. Пока он рассказывает зрителям о трех типах музыки, постепенно проясняется звучание инструментов и их звучание сливается в гармонию. Три типа музыки — повествовательная, рассказывающая историю, иллюстративная (фоновая) и абсолютная, существующая ради себя самой.

Режиссеры: Норман Фергюсон, Джеймс Элгар, Сэмюэл Армстронг, Форд Биби мл., Джим Хэндли. Роли дублировали: Валерий Кухарешин, Виктор Костецкий, Максим Сергеев.

Эпизоды и музыкальные произведения:

Токката и фуга ре минор, BWV 565. Фрагмент, озвученный Токкатой и фугой ре-минор (BWV 565) И. С. Баха представляет собой смесь абстрактных образов из геометрических фигур и неба в стиле немецкого художника-абстракциониста Оскара Фишингера.

Сюита из балета «Щелкунчик» П. И. Чайковского.
Танец Феи Драже: феи и эльфы раскрашивают цветы и деревья в яркие цвета.
Китайский танец: танец грибов, в котором маленький грибок постоянно выбивается из круга.
Танец пастушков: падающие в воду цветы.
Арабский танец: балет рыб.
Русский танец, антропоморфные цветы: чертополох-казаки и орхидеи-девушки в платьях.
Вальс цветов, танец эльфов и осенних листьев, к которому присоединяются снежинки.

«Ученик чародея». Построено на поэме «Ученик чародея» Гете и одноименной симфонической поэме Поля Дюка.

«Весна священная». Игорь Стравинский — «Весна священная» иллюстрируется историей эволюции жизни на Земле, от ее возникновения до гибели динозавров в пустыне Гоби.

«Пастораль». Иллюстрирует Симфонию № 6 Людвига ван Бетховена — перед зрителем проходит вереница богов и персонажей греко-римской мифологии: семья пегасов, Бахус и его осел-единорог, купидоны (ангелы), кентавры обоих полов, Ирида, Юпитер, Вулкан и Диана.

«Танец часов» из оперы «Джоконда». Амилькаре Понкьелли — «Танец часов» из оперы Понкьелли «Джоконда». Исполняется страусами, крокодилами, слонами и бегемотами в балетных костюмах. При работе над мультфильмом художники студии наблюдали за спектаклями и репетициями «Русского балета Монте-Карло».

«Ночь на Лысой горе». Модест Мусоргский — «Ночь на Лысой горе». В Вальпургиевую ночь демон Чернобог устраивает шабаш на вершине Лысой горы, куда собирает злых духов, привидений и ведьм. Дьявольскую оргию прерывает звон церковных колоколов, возвещающих приход нового дня.

«Ave Maria». Франц Шуберт — «Третья песня Эллен».

«Лунный свет». Клод Дебюсси — не вошедший в окончательную редакцию сюжет «Лунный свет».

ИНТЕРЕСНЫЕ ФАКТЫ:

  • Слоган: «Fantasia Will Amazia!».
  • В мультфильме был впервые использован стереофонический звук «Фантасаунд», а стиль картины тяготеет к абстракционизму и авангарду.
  • В 1999 году был выпущен мультфильм «Фантазия-2000» с применением современных технологий, также включивший в себя классический сюжет «Ученик чародея».
  • Музыка для номеров исполнялась Филадельфийским оркестром под руководством Леопольда Стоковски.
  • Мультфильм потерпел неудачу в прокате, поэтому намечавшееся продолжение «Фантазия-2» осталось незаконченным. Сюжет «Петя и Волк» по музыке Сергея Прокофьева (лично принесшего в студию Уолту Диснею партитуру) стал отдельным короткометражным мультфильмом.
  • Фильм задумывался как одна короткая история про Микки Мауса под названием «Ученик чародея», которая должна была вернуть мышонку утерянную популярность.
  • Шапочка, которую Микки Маус надевает на голову в мультфильме, в итоге и стала главным символом Disney-MGM.
  • Морис Сендак – детский писатель и художник – решил стать мультипликатором еще в возрасте 12 лет, посмотрев «Фантазию» Диснея.

Награды:

  • Премия Национального совета кинокритиков США (1940).
  • 1940 — Специальный приз от кинокритиков Нью-Йорка.
  • 1942 — Две премии «Оскар»: Уолту Диснею, Вильяму E. Гэрити и Дж. Хокинзу (RCA Manufacturing Company) «За исключительный вклад в продвижение звука в кинематографе» и Леопольду Стоковски и его коллегам «За уникальную роль в создании новой формы наглядной музыки в произведении Уолта Диснея «Фантазия» и расширении значения кинематографа как средства развлечения и искусства».
  • 1990 — включение в Национальный реестр фильмов.

«Фантазия 2000» (англ. Fantasia 2000), 1999 — полнометражный музыкальный мультфильм, продолжение оригинального мультфильма.

Спустя почти 60 лет аниматоры корпорации «Дисней» вынесли на суд зрителей продолжение гениального фильма, создав рисованные этюды на музыку Бетховена, Респиги, Гершвина, Шостаковича, Сен-Санса, Элгара и Стравинского. Также в «Фантазию 2000» вошел классический эпизод из первой «Фантазии» — «Ученик колдуна».

Режиссеры: Джеймс Элгар, Гаэтан Брицци, Пол Брицци, Хендел Бутой, Френсис Глебас, Эрик Голдберг, Дон Хан, Пиксоут Хант. Роли дублировали: Олег Безинских, Илья Носков.

Конферансье: Стив Мартин, Бэтт Мидлер, Куинси Джонс, Анджела Лэнсбери.

ИНТЕРЕСНЫЕ ФАКТЫ:

  • Мультфильм вышел спустя 60 лет после оригинальной «Фантазии».
  • В качестве конферансье выступили знаменитые киноактеры и телеведущие.
  • Музыкальные композиции, прозвучавшие в мультфильме:
    • Людвиг ван Бетховен «Пятая симфония»
    • Отторино Респиги «Пинии Рима»
    • Джордж Гершвин «Голубая рапсодия»
    • Дмитрий Шостакович «Концерт для фортепиано с оркестром № 2, Allegro, Opus 102»
    • Камиль Сен-Санс «Карнавал животных», финал
    • Поль Дюка «Ученик чародея»
    • Эдуард Элгар «Торжественные и церемониальные марши № 1-4»
    • Игорь Стравинский Сюита из балета «Жар-птица»
  • Эмми — Премия  — «Лучшая анимация», «Работа художника», «Анимационные эффекты».
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