Javascript must be enabled to continue!
Visualizing Peter: The First Animated Adaptations of Prokofiev’sPeter and the Wolf
View through CrossRef
Adapting the vivid programmatic music of Prokofiev’sPeter and the Wolf(1936) into an animated film could have been a straightforward process, yet the earliest animated versions took significant artistic liberties with Prokofiev’s symphonic tale, projecting vastly different interpretations of the story. Walt Disney produced the first animation in 1946 in an anthology of shorts released to theaters. In 1958,Soyuzmultfilm—a Soviet Studio—created a stop-motion puppet version. Both screen adaptions make cuts to Prokofiev’s score, reorder musical segments, and rewrite parts of the narrative. A comparison of Prokofiev’s concert version with these animations reveals a fascinating reception history over two decades from both Soviet and American perspectives. Although deceptively simple on the surface, these animated films are sophisticated artistic expressions conveying nuanced political and cultural values.
Title: Visualizing Peter: The First Animated Adaptations of Prokofiev’sPeter and the Wolf
Description:
Adapting the vivid programmatic music of Prokofiev’sPeter and the Wolf(1936) into an animated film could have been a straightforward process, yet the earliest animated versions took significant artistic liberties with Prokofiev’s symphonic tale, projecting vastly different interpretations of the story.
Walt Disney produced the first animation in 1946 in an anthology of shorts released to theaters.
In 1958,Soyuzmultfilm—a Soviet Studio—created a stop-motion puppet version.
Both screen adaptions make cuts to Prokofiev’s score, reorder musical segments, and rewrite parts of the narrative.
A comparison of Prokofiev’s concert version with these animations reveals a fascinating reception history over two decades from both Soviet and American perspectives.
Although deceptively simple on the surface, these animated films are sophisticated artistic expressions conveying nuanced political and cultural values.
Related Results
Paroemias “wolf’s sun” and “sun of wolves”
Paroemias “wolf’s sun” and “sun of wolves”
We consider the combinations of the periphrastic nature of “wolf’s sun”, “wolf’s sunshine”, “sun of wolves”, “sun of wolf”, which are used to name the night time image in the title...
VICTORIAN LITERATURE AND FILM ADAPTATION
VICTORIAN LITERATURE AND FILM ADAPTATION
“The book was nothing likethe film,” complained one of my students about a week or so after the premiere of Tim Burton'sAlice in Wonderland(2010). Barely able to contain his disgus...
Wolves in the Early Nineteenth-Century County of Jönköping, Sweden
Wolves in the Early Nineteenth-Century County of Jönköping, Sweden
In Sweden there has been a vigorous debate concerning management of the wolf (Canis lupus) ever since 1983, when the species was naturally re-established in the country by long-dis...
Berlin: Hindemith's ‘Klaviermusik mit orchester’
Berlin: Hindemith's ‘Klaviermusik mit orchester’
Paul Wittgenstein's commissioning of concertos for piano left-hand is as enviable a legacy as any performer could wish to have, centred as it is on concertos by Korngold, Franz Sch...
How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces
How Animation Won Over the Lightning Sketch: Re-Evaluating Humorous Phases of Funny Faces
The short film Humorous Phases of Funny Faces, released in 1906 and directed by J Stuart Blackton (1875–1941), is considered to be one of the earliest examples of cinematic animati...
Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis
Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis
This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten ...
A Film of One’s Own: The Animated Self-Portraits of Young Contemporary Female Animators
A Film of One’s Own: The Animated Self-Portraits of Young Contemporary Female Animators
This article analyses animated self-portraits created by contemporary young and emerging women in animation, and elucidates significant differences between this new generation of w...
Nordic noir vs. spies in the cold: The reception of Scandinavian TV and film adaptations in Germany
Nordic noir vs. spies in the cold: The reception of Scandinavian TV and film adaptations in Germany
Scandinavian crime novels and their adaptations as TV dramas and films, commonly known as Nordic noir, are very popular in Germany. Nordic noir often has a political content and wh...
Recent Results
The concepts “spravedlyvist” and “pravda” in Ukrainian legal texts of the second half of the 16th–the first half of the 17th century)
The concepts “spravedlyvist” and “pravda” in Ukrainian legal texts of the second half of the 16th–the first half of the 17th century)
The paper studies the vocabulary the Ukrainian intellectuals of the second half of the 16th–the early 17th century used to signify a number of moral, ethical, and legal concepts. T...
Michelangelo as a Baroque Poet
Michelangelo as a Baroque Poet
Michelangelo Buonarroti's influence upon baroque sculpture is now widely recognised by historians. Ever since that morning in 1506 when he and the Sangalli, father and son, watched...
NMDA-Based Pattern Discrimination in a Modeled Cortical Neuron
NMDA-Based Pattern Discrimination in a Modeled Cortical Neuron
Compartmental simulations of an anatomically characterized cortical pyramidal cell were carried out to study the integrative behavior of a complex dendritic tree. Previous theoreti...