FANTASIA Disney STORYBOARD SET Animation PHOTOCOPY Bald Mountain CHERNABOG # 5

Description: THIS IS A 1980s ERA PHOTO COPY PRINT from DISNY ANIMATION RESEARCH and NOT VINTAGE ORIGINAL DRAWINGS. THIS IS ONE PAGE with FOUR IMAGES. This is RESEARCH PHOTOCOPY from the 1980s of a page with 4 STORYBOARD IMAGES of ANIMATION DEVELOPMENT ART of FANTASIA from NIGHT ON BALD MOUNTAIN with CHERNABOG Walt Disney and his team are considered the founders of storyboarding, a series of sketches that helps filmmakers visualize the sequence of a film's plot. Disney believed that story development was a key part of producing animated films, and he used storyboards to quickly share progress with his artists by pinning their drawings on studio walls in sequence. Disney first used storyboards for his 1920s Mickey Mouse cartoon Steamboat Willie and for The Three Little Pigs in 1933. This is a 1980s PHOTO COPY on Regular Paper from DISNEY ANIMATION RESEARCH Dept. and NOT ORIGINAL DRAWINGS Night on Bald Mountain/Ave Maria is the seventh and final segment of Fantasia, following the medley containing compositions of the same name by Modest Mussorgsky and Franz Schubert. Deems Taylor introduces it as the conflict between the profane (represented by Night on Bald Mountain) and the sacred (represented by Ave Maria). At Walpurgis Night (the Witches' Sabbath), Chernabog, God of evil, emerges from the peak of Bald Mountain (in reality Mount Triglaf, near Kyiv in Ukraine) to summon all of his minions, including ghosts, vultures, demons, hags, and harpies, who dance furiously as he throws them into the mountain's fiery pit. He is driven away by the light of the dawn, and a procession of figures walks up a hill to witness the sunrise. It is perhaps the most famous sequence in Fantasia, if not, second to The Sorcerer's Apprentice. It showcases the animation of Vladimir Tytla and the style of Kay Nielsen, as well as the longest shot ever produced in the multi-plane camera (in the procession). The idea for Chernabog was conceived by German artist Heinrich Kley (who, though he did not officially work at the Disney studio, inspired many of the Disney artists, and whose drawings were collected by Walt Disney), who once sketched a pen and ink drawing of a gigantic demon forcing workers out of a factory by blocking the chimney. Albert Hurter, inspired by this drawing and others like it by Kley, drew various sketches of a huge, winged devil tossing handfuls of souls into a volcano. Hurter's sketches also included studies of his hands as his flailing minions attempt to clamber onto his fingers for safety; this imagery is used in a scene in the final film. After Hurter's initial sketches, Kay Nielsen established the final appearance of him and his world in a series of detailed pastel illustrations, as well as a model sheet for him. Walt Disney believed that story development was one of the most important parts of producing an animated film. In the 1930s, the Walt Disney Studios developed storyboards as a tool for creating engaging and coherent stories. THE full page is 11 X 8 1/2 Item in GOOD CONDITION with a 3 hole punch from being in a research binder. Please see photos Multiple FLAT PURCHASES PAY ONLY ONE MAILING FEE. This is a 1980s PHOTO COPY on Regular Paper from DISNEY ANIMATION RESEARCH Dept. and NOT ORIGINAL DRAWINGS

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Location: Kailua Kona, Hawaii

End Time: 2024-12-08T20:20:18.000Z

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