This article describes bicycles 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 where many large American entertainment companies reform and reinvigorate its animation department after the decline suffered in the 60, 60 to 70 and 80.
From 1988 for this
In the mid 80’s, the American animation industry chop down into disgrace. Toy tv ads masquerading as entertainment programs shows focused the evening and the morning of Sunday, and the only experiment was carried out by independent developers. Even computer animated films were estimated in theaters at times, but the honor of the past was gone. Even the animation giant Disney, which had struggled with a corporate buy in the 80’s, was considering walking away from the production of computer animated feature films.
The enthusiastic audience, critics, and the artists were taken by surprise when the long-awaited renaissance of animation began in the earliest 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 stimulating their studies. With great fanfare, in 1988 the study worked with Steven Spielberg to produce the computer animated film Who Framed Roger Bunny, directed by Robert Zemeckis. The film was a success, and gave to the animation industry looked forward to push for that time. Roger Bunny not only earned him a heap of money for Disney, but also sparked the popularity of the classic animation that continues to this day. Bicycles of animation suddenly became an object of study (and their fans). Several owners, business legend, such as Place Jones and Friz Freleng were suddenly in the focus, being acclaimed after decades of being virtually ignored by audiences and industry professionals.
Disney continued the success of Who Framed Roger Bunny? with “The Little Mermaid”, the first of a series of computer animated films that appeared to 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, inch which attracted audiences that were not welcomed in decades, and once provided a visual food that is not maxed since the 40. The peak of the hit Disney was in 1994 when his film “The Lion King” maxed all expectations of the study to become one of the most successful of all time. Even later Disney films as “Pocahontas, inch “The Hunchback of Notre Dame”, “Hercules, inch “Mulan” and “Tarzan” was blockbusters.
Disney in addition has made inroads into the neglected part of the computer 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 duplication, 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 Televesion’s most ambitious and best done delightfully. The soundtracks of each of these computer 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), Roublesome 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 their own way. Animation amateur life, Spielberg was also interested in making high quality animation, and worked with his rival, Put on Bluth animation producer to produce “Fievel and the New world. inch The box office success of this and Bluth’s next film, “In The Land”, The movies made him realize that Disney did not hold a monopoly on computer animated features. The other The movies studios resumed production of its computer animated features, but still falling into the trap of trying to copy Disney’s 1997 film Put on Bluth, “Anastasia”, produced by Monk, is mentioned as the one launched the Monk Animation Studios and Disney’s rival, however, these studies failed to succeed after “Anastasia” and closed in 1999. Like most successful stage productions 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, inch a top quality computer animated series that paid respect to the great shows of Bug 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 competitor 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.
Rob Bakshi, director of innovative computer animated films like “Fritz the Cat” and original “Lord of the Rings”, returned to animation after making a brief stay in the mid 80’s. In 1985, he teamed up with the young Canadian animator John Kricfalusi and the legendary British band “The Running Stones” to make an computer 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. inch Bakshi & Company, worked tirelessly 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 wound up being severely criticized and forgotten by almost everyone.
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 screenplay, character design and storyboarding is done in American offices. The storyboard, models and color books are shipped abroad. Sometimes causes problems because no final product can be completed prior to the frames are shipped to the You. S.. Although budgets have been reduced, foreign stage productions 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 episode to another. This is particularly evident in shows like “Gargoyles” and “Batman”: The Computer animated Series where, sometimes, the characters seem different from episode to the dismay of its owners.