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 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. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection
| Identifer | oai:union.ndltd.org:fau.edu/oai:fau.digital.flvc.org:fau_34546 |
| Contributors | Fernandez, Daniel (author), Guneratne, Anthony R. (Thesis advisor), Florida Atlantic University (Degree grantor), Dorothy F. Schmidt College of Arts and Letters, School of Communication and Multimedia Studies |
| Publisher | Florida Atlantic University |
| Source Sets | Florida Atlantic University |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation, Text |
| Format | 93 p., application/pdf |
| Rights | Copyright © is held by the author, with permission granted to Florida Atlantic University to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder., http://rightsstatements.org/vocab/InC/1.0/ |
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