This article describes the of animation in the united states of America since the late 80’s prior to the early twenty-first century. This period is often called the renaissance of American animation, 4anime when many large American entertainment companies reform and reinvigorate its animation department after the decline suffered in the 60, 75 and 80.
From 1988 to the present
In the mid 80’s, the American animation industry fell into disgrace. Toy tv ads masquerading as entertainment programs cartoons dominated the evening and the morning of Tuesday, and the only experiment was carried out by independent developers. Even animated films were projected in theaters at times, but the wonder of the days of the past was gone. Even the animation giant Disney, which had struggled with a corporate acquisition in the 80’s, was considering abandoning the production of animated feature films.
Both the enthusiastic audience, critics, and the computer animators were taken by surprise when the long-awaited renaissance of animation began in the son and most conservative corporation, Disney.
Disney had a drastic change in the 80, its new chief Michael Eisner the company relocated to his feet, returning to its roots and rousing their studies. With great fanfare, in 1988 the study worked with Steven Spielberg to produce the animated film Who Framed Roger Bunnie, directed by Robert Zemeckis. The film was a success, and gave to the animation industry anticipated push for that time. Roger Bunnie not only earned him a load of money for Disney, but also sparked the popularity of the classic animation that continues to this day. The of animation suddenly became an object of study (and their fans). Several directors, business legend, such as Toss Jones and Friz Freleng were suddenly in the highlight, being acclaimed after decades of being virtually ignored by audiences and industry professionals.
Disney continued the success of Who Framed Roger Bunnie? with “The Little Mermaid”, the first of a series of animated films that did actually recapture the magic of the golden age of Walt Disney himself. The studio room invested heavily in new technology of computer animation for such purposes, but could do super-productions like “Beauty and the Beast” and “Aladdin, inches which attracted audiences that were not noticed in decades, and once provided a visual food that will not surpass since the 40. The peak of the hit Disney was in 1994 when his film “The Lion King” surpass all expectations of the study to become one of the most successful of all time. Even later Disney films as “Pocahontas, inches “The Hunchback of Notre Dame”, “Hercules, inches “Mulan” and “Tarzan” was blockbusters.
Disney has also made inroads into the neglected section of the animated TV series. With the success of shows like “The New Adventures of Winnie the Pooh”, “The Adventures of the Gummi Bears Disney” and “Duck adventures”, the “new” Disney made his mark in TV pictures. Through association and repetition, Disney can provide high quality animation for TV. A series of large diffusion was conducted in mid-nineties, with some critics designating “Gargoyles” as the Disney animation project for Video’s most ambitious and best done delightfully. The soundtracks of each of these animated films were an important part of its success, because Disney was including in each of these projects a loud voice from the world of music, such as Elton John (The Lion King), Luis Miguel (The Hunchback of Notre Dame), Ough Martin (Hercules), Christina Aguilera (Mulan), Celine Dion (Beauty and the Beast), Ricardo Montaner (Aladin), Jon Secada (Pocahontas), among others.
Spielberg and animation
Spielberg and Bluth
While Disney gave new life to animation, Steven Spielberg was making his well-known way. Animation amateur life, Spielberg was also interested in making high quality animation, and worked with his rival, Don Bluth animation producer to produce “Fievel and the New world. inches The box office success of this and Bluth’s next film, “In The Land”, Showmanship made him realize that Disney did not hold a monopoly on animated features. The other Showmanship studios resumed production of the liechtenstein animated features, but still falling into the trap of trying to imitate Disney’s 1997 film Don Bluth, “Anastasia”, produced by Fox, is mentioned as the one launched the Fox Animation Studios and Disney’s rival, however, these studies failed to succeed after “Anastasia” and closed in 1999. Like most successful production of Disney, “Anastasia” was attended by Thalia, who played the central theme of the soundtrack in its versions in Spanish, English and Portuguese.
Spielberg and Warner Bros.
Spielberg, meanwhile, switched to TV and worked with animation studio room Warner Bros. to produce “The Tiny Toon Adventures, inches a high quality animated series that paid honor to the great cartoons of Termite Terrace. “The Tiny Toon Adventures” had a good rating thanks to its young viewers, which inspired the Warner Bros to resurrect his dying animation studio room and once again a challenger in the field of animation. The Tiny Toon Steven Spielberg were continued by presenting “Animaniacs” and “Pinky and the Brain”. The latter not only attracted new viewers to Warner Bros., but also captured the attention of viewers adolescents and adults.
Ron Bakshi, director of innovative animated films like “Fritz the Cat” and original “Lord of the Rings”, returned to animation after making a brief remain in the mid 80’s. In 1985, he teamed up with the young Canadian animator John Kricfalusi and the legendary British band “The Going Stones” to make an animated music video for “The Harlem Shuffle”, which was completed in early 1986. Although the music video did not talk much, he built a production team “Bakshi Animation” project continued with the short-lived but well received, “The New Adventures of Mighty Mouse. inches Bakshi & Corp, labored on numerous projects at the end of the 80, but the biggest project was “Cool World: a blonde between two worlds”, which premiered in 1992. The production got out of hand and ended up being being severely criticized and forgotten by almost everyone.
Paying out your workers animation
The main reason for increasing the standard of American animation is the ability to outsource the heavy lifting to cheaper animation houses in the South and Southeast Asia gaining a large number of frames at low cost. The software, character design and storyboarding is done in American offices. The storyboard, models and color books are mailed abroad. Sometimes causes problems because no final product can be completed prior to the frames are mailed to the U. S.. Although budgets have been reduced, foreign production houses are chosen per episode, or even per scene, depending on the amount of money available at that time. As a result there is a big difference in quality from one episode to another. This is particularly evident in shows like “Gargoyles” and “Batman”: The Animated Series where, sometimes, the characters seem differing from one episode to the dismay of its directors.