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The Sorcerer’s Apprentices: Authorship and Sound Aesthetics in Walt Disney’s Fantasia
Title
The Sorcerer’s Apprentices: Authorship and Sound Aesthetics in Walt Disney’s Fantasia.
Creator
Fernandez, Daniel, Guneratne, Anthony R., Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, School of Communication and Multimedia Studies
Abstract/Description
This thesis makes three claims new to the critical literature onWalt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements. Inspired by recent critical debates on post-silent era filmmaking and theories of authorship, it makes a case for Fantasia being the culmination...
Show moreThis thesis makes three claims new to the critical literature onWalt Disney’s 1940 film Fantasia. Setting the scene by placing a spotlight on the long-serving Philadelphia Orchestra conductor Leopold Stokowski, it contextualizes his pervasive influence, as well as contributions by others that shaped Fantasia and defined the film’s stylistic elements. Inspired by recent critical debates on post-silent era filmmaking and theories of authorship, it makes a case for Fantasia being the culmination of a “sound film” and notes that its displays of individual artistic talent makes it a noteworthy example of distributed authorship. Fantasia remains a unique experiment in Disney’s filmmaking in that it acquired its eventual form only because of decisions taken during production since no absolute “blue-print” for the finished film existed at the time it went into production, when a large selection of musical numbers were assigned to teams of animators.
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Date Issued
2017
PURL
http://purl.flvc.org/fau/fd/FA00004854, http://purl.flvc.org/fau/fd/FA00004854
Subject Headings
Stokowski, Leopold--1882-1977., Authorship., Animated film music., Musical films.
Format
Document (PDF)
Punctuated Identities In Contemporary Italian Cinema
Title
Punctuated Identities In Contemporary Italian Cinema.
Creator
Iadevaia, Vincenza, Serra, Haria, Guneratne, Anthony, Florida Atlantic University, Dorothy F. Schmidt College of Arts and Letters, Department of Languages, Linguistic and Comparative Literature
Abstract/Description
At a time of major political disruption in Italy, this dissertation aims to explore the landscape of contemporary Italian Cinema in connection with the nation’s new demographic trends and social configurations. Focusing on a selected, inherently representative group of filmmakers, the current study proposes a new form of film theory that sees the emergence and recognition of multi-ethnic filmmaking in a hitherto largely monocultural context as an indicator of a profound cultural...
Show moreAt a time of major political disruption in Italy, this dissertation aims to explore the landscape of contemporary Italian Cinema in connection with the nation’s new demographic trends and social configurations. Focusing on a selected, inherently representative group of filmmakers, the current study proposes a new form of film theory that sees the emergence and recognition of multi-ethnic filmmaking in a hitherto largely monocultural context as an indicator of a profound cultural transformation rather than a mere aesthetic tendency. The critical terminology I propose, “punctuated identitties,” document the characteristics of contemporary filmmakers, since they cannot be easily defined under the categories established by previous critical vocabularies. While these multi-ethnic filmmakers are part of a larger trend in European filmmaking as a whole, and hence constitute a case study of the evolution of a particular trend within individual national cinemas, my aim is to show how their punctuated identities complicate and color the Italian mediascape, and perhaps add a pluralistic dimension to the most recent chapter in the story of one of the most influential national cinemas. The filmmakers analyzed are selected according to specific elements and not on any categorization as first-and-second-generation immigrants. The present analysis includes two immigrants who have consciously chosen Italy as their homeland (Ferzan Özpetek and Jonas Carpignano), a migrant other who rejects nationality (Laura Halilovic), a political exile who relishes a certain sense of freedom in his Italian sojourn (Fariborz Kamkari), and a naturalized son of immigrants (Suranga Katugampala). All move in a fluid and conceptual space that creates a new path inside the traditional domain of national cinema, establishing the validity of others’s points of views and proving that coexistence can enrich even established and influential art forms.
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Date Issued
2019
PURL
http://purl.flvc.org/fau/fd/FA00013219
Subject Headings
Cinema, Motion pictures, Italian, Contemporary filmmakers, Motion picture producers and directors--Italy
Format
Document (PDF)