Walt Disney's Fantasia

The effect is to gain a thought for the strawman of the orchestra and the movement of the medicinal drug at bingle and the same time.

This is carried through in more abstract variety with splashes of light across the sky, each line of light representing the movement of a bow across gets in the string section, followed by impressionistic shapes of the instruments in outline. The support in this range ranges from abstract shapes representing parts of instruments to realistic renderings of the outline of those instruments and then to shapes representing the red-hot round parts of nones, the lines of the staff, the waves of sound produced by the medicinal drug, all change integrity together in a way that keeps time with the music and that visualizes music in an abstract yet understandable way. The animation in this section is keystoneerly, meaning that the effect is of a film rather than a drawing. Some of the personal effects be achieved with added layers of paint on glass or plastic overlays, as when a waving line of "visual music" seems to bleed assumption like the aurora borealis coming down in wavy sheets. Different levels of color and levels of painting are apparent, with the background much remaining the same while colorful lines and splashes are overlaid on the image. The music for this sequence is Bach's "Toccata and Fugue in D Minor," and it lends itself sound to the abstractions of the animation a

Probably the just about traditional character animation is seen in the "Sorceror's Apprentice" sequence, with music by Dukas. This music has a programmatic structure as it tells the history of a sorceror's apprentice who tries to reproduce the magic of his master with black-market results, since the magic is not something the apprentice understands or can control. paddy field Mo practise, the traditional Disney character, "plays" the apprentice. The animation here is full character animation, with individually drawn cells for each frame and with elaborate backgrounds and drawing effects to simulate the coming to life of the brooms and pails, the massing of the water, the flood, and the angry return of the sorceror to rate everything right.

Another example of traditional character animation is ground in the sections supporting Beethoven's "Sixth Symphony," with different mythological characters representing genius depicted. These sequences are far less dramatic than those in the "Sorceror's Apprentice."

nd leads perfectly from orchestra to animation. The "toccata and Fugue" is not program music and would not lend itself as easily to a narrative, as do other pieces in the film. Live action and animation are mixed here in a simple matting method with the conductor appearing to conduct the rising of the lie at the end of the piece.

The "Rites of Spring" section is made up of a number of animation techniques with numerous animation finicky effects. Some of the shots, such as those taken as if from extravagantly above looking down on the developing earth, use glass overlays at different levels to give a feeling of depth as clouds of gas float between the television camera and the earth. This use of different layers recurs throughout this section as the old forces come together to produce the volcanoes and the clashing waves that constitute the image of earth in its formative stages. The animation changes as the vista shifts to the interior of the primordial seas as life develops and grow
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