Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

Fantasia (1940)

View through CrossRef
Fantasia is an animated American film produced by Walt Disney. The film consists of eight animated segments, of which ‘The Sorcerer’s Apprentice’ is the most famous one. Apart from ‘The Sorcerer’s Apprentice,’ all segments of the film are set to the music of well-known Western classical composers, performed by the Philadelphia Orchestra and conducted by Leopold Stokowski. Live action introductions by composer and music critic Deems Taylor link each segment. Fantasia was the first film to utilise stereophonic sound, referred to by Disney as ‘Fantasound’. In bringing together high art (classical music) with popular culture (animation), Fantasia demonstrates the modernist tendency to disregard cultural hierarchy and traditional distinctions between genres – an act that stirred controversy when the film was first released. The film employs an eclectic approach, splicing together pieces of music from longer symphonies and depicting heterogeneous subject matter, from characters based on Greek mythology to a literalistic portrayal of the extinction of the dinosaurs. The style of the animation, characterised by intricate multilayered images produced by multiplane cameras, draws from diverse modernist sources. The influence of surrealism, art-deco, modernist abstraction, combined with the more traditional influences of Romantic nineteenth-century painting and academic art, are all evident in its visual imagery. Both critically praised and widely popular, Fantasia was named number 5 in the American Film Institute’s top 10 best animated films, and number 58 in their list of the 100 best American films.
Title: Fantasia (1940)
Description:
Fantasia is an animated American film produced by Walt Disney.
The film consists of eight animated segments, of which ‘The Sorcerer’s Apprentice’ is the most famous one.
Apart from ‘The Sorcerer’s Apprentice,’ all segments of the film are set to the music of well-known Western classical composers, performed by the Philadelphia Orchestra and conducted by Leopold Stokowski.
Live action introductions by composer and music critic Deems Taylor link each segment.
Fantasia was the first film to utilise stereophonic sound, referred to by Disney as ‘Fantasound’.
In bringing together high art (classical music) with popular culture (animation), Fantasia demonstrates the modernist tendency to disregard cultural hierarchy and traditional distinctions between genres – an act that stirred controversy when the film was first released.
The film employs an eclectic approach, splicing together pieces of music from longer symphonies and depicting heterogeneous subject matter, from characters based on Greek mythology to a literalistic portrayal of the extinction of the dinosaurs.
The style of the animation, characterised by intricate multilayered images produced by multiplane cameras, draws from diverse modernist sources.
The influence of surrealism, art-deco, modernist abstraction, combined with the more traditional influences of Romantic nineteenth-century painting and academic art, are all evident in its visual imagery.
Both critically praised and widely popular, Fantasia was named number 5 in the American Film Institute’s top 10 best animated films, and number 58 in their list of the 100 best American films.

Related Results

Fantasia Sul América para violino solo de Claudio Santoro: um memorial autoetnográfico
Fantasia Sul América para violino solo de Claudio Santoro: um memorial autoetnográfico
O artigo apresenta um registro autoetnográfico do processo de criação da performance da obra “Fantasia Sul América para Violino Solo” de Claudio Santoro. A pesquisa se baseou em um...
O fantasma no horizonte: clínica e estrutura.
O fantasma no horizonte: clínica e estrutura.
O presente trabalho acompanha o trilhamento do conceito de fantasia na obra freudiana e na obra lacaniana, considerando a articulação deste com os fundamentos da metapsicologia e d...
Ralph Vaughan Williams. “Fantasia on a Theme by Thomas Tallis” within the Framework of the English Musical Revival
Ralph Vaughan Williams. “Fantasia on a Theme by Thomas Tallis” within the Framework of the English Musical Revival
The purpose of the research is to shed light on compositional and artistic features of “Fantasia on a Theme by Thomas Tallis”, the work of the British composer Ralph Vaughan Willia...
ENTA GEWEORC, O TRABALHO DOS GIGANTES: J. R. R. TOLKIEN E AS RUÍNAS PRÉ-MEDIEVAIS DA INGLATERRA ALTO-MEDIEVAL
ENTA GEWEORC, O TRABALHO DOS GIGANTES: J. R. R. TOLKIEN E AS RUÍNAS PRÉ-MEDIEVAIS DA INGLATERRA ALTO-MEDIEVAL
 O objetivo deste trabalho é analisar de que forma as ruínas da antiguidade, elementos presentes na Idade Média, foram interpretadas e agenciadas por Tolkien em sua escrita de fant...
Alarma! Espectrografías homosexuales!
Alarma! Espectrografías homosexuales!
En 1963, Publicaciones Llergo S.A., lanzó a la venta la revista Alarma! Únicamente la verdad. Para 1986, la revista fue cerrada por la política de “Renovación moral” que lanzó el g...
Biography pages of Juozas Albinas Lukša-Daumantas 1940–1941
Biography pages of Juozas Albinas Lukša-Daumantas 1940–1941
The article examines some pages of the life history of the famous post-war partisan Juozas Albinas Lukša Daumantas (10 August 1921 – 4 September 1951) from 1940 through 1941 that h...
Conhecer a fantasia (é) fundamental
Conhecer a fantasia (é) fundamental
O autor enfatiza o conceito lacaniano de fantasia fundamental, bem como o uso deste para orientação nos objetivos do tratamento psicanalítico. Resgata as origens desse conceito e c...

Back to Top