The Magic Behind the Voices is a fascinating package of biographies, anecdotes, credit listings, and photographs of the actors who have created the unmistakable voices for some of the most popular and enduring animated characters of all time. Drawn from dozens of personal interviews, the book features a unique look at thirty-nine of the hidden artists of show business. Often as amusing as the characters they portray, voice actors are charming, resilient people—many from humble beginnings—who have led colorful lives in pursuit of success. Beavis and Butthead and King of the Hill's Mike Judge was an engineer for a weapons contractor turned self-taught animator and voice actor. Nancy Cartwright (the voice of Bart Simpson) was a small-town Ohio girl who became the star protégé of Daws Butler—most famous for Yogi Bear, Huckleberry Hound, and Quick Draw McGraw. Mickey Mouse (Wayne Allwine) and Minnie Mouse (Russi Taylor) were a real-life husband-and-wife team. Spanning many studios and production companies, this book captures the spirit of fun that bubbles from those who create the voices of favorite animated characters. In the earliest days of cartoons, voice actors were seldom credited for their work. A little more than a decade ago, even the Screen Actors Guild did not consider voice actors to be real actors, and the only voice actor known to the general public was Mel Blanc. Now, Oscar-winning celebrities clamor to guest star on animated television shows and features. Despite the crushing turnouts at signings for shows such as Animaniacs, The Simpsons, and SpongeBob Squarepants, most voice actors continue to work in relative anonymity. The Magic Behind the Voices features personal interviews and concise biographical details, parting the curtain to reveal creators of many of the most beloved cartoon voices.

This biographical dictionary is devoted to the actors who provided voices for all the Disney animated theatrical shorts and features from the 1928 Mickey Mouse cartoon Steamboat Willie to the 2010 feature film Tangled. More than 900 men, women, and child actors from more than 300 films are covered, with biographical information, individual career summaries, and descriptions of the animated characters they have performed. Among those listed are Adriana Caselotti, of Snow White fame; Clarence Nash, the voice of Donald Duck; Sterling Holloway, best known for his vocal portrayal of Winnie the Pooh; and such show business luminaries as Bing Crosby, Bob Newhart, George Sanders, Dinah Shore, Jennifer Tilly and James Woods. In addition, a complete directory of animated Disney films enables the reader to cross-reference the actors with their characters.

Animation has been a staple of the filmmaking process since the early days of cinema. Animated shorts had been produced for decades, but not until 1937 did a major studio venture into animated features when Walt Disney produced Snow White and the Seven Dwarfs. Of the hundreds of animated feature films made since, many have proven their importance over the years while also entertaining generations of audiences. There are also many recent animated movies that promise to become classics in the field. In 100 Greatest American British Animated Films, Thomas S, Hischak looks at the most innovative, influential, and entertaining features that have been produced since the late 1930s—from traditional hand-drawn works and stop-motion films to computer-generated wonders. These movies have been selected not simply because of their popularity or critical acceptance but for their importance. Entries in this volume contain plot information production history critical reaction commentary on the film’s cinematic quality a discussion of the film’s influence voice casts production credits songs sequels, spin-offs, Broadway versions, and television adaptations awards and nominations Each movie is also discussed in the context of its original release as well as the ways in which the film has lived on in the years since. Familiar favorites and lesser-known gems are included, making the book a fascinating journey for both the avid animation fan and the everyday moviegoer. With a sweeping look at more than eight decades of movies, 100 Greatest American and British Animated Films highlights some of the most treasured features of all time.

Paris and the Musical explores how the famous city has been portrayed on stage and screen, investigates why the city has been of such importance to the genre and tracks how it has developed as a trope over the 20th and 21st centuries. From global hits An American in Paris, Gigi, Les Misérables, Moulin Rouge! and The Phantom of the Opera to the less widely-known Bless the Bride, Can-Can, Irma la Douce and Marguerite, the French capital is a central character in an astounding number of Broadway, Hollywood and West End musicals. This collection of 18 essays combines cultural studies, sociology, musicology, art and adaptation theory, and gender studies to examine the envisioning and dramatisation of Paris, and its depiction as a place of romance, hedonism and libertinism or as ‘the capital of the arts’. The interdisciplinary nature of this collection renders it as a fascinating resource for a wide range of courses; it will be especially valuable for students and scholars of Musical Theatre and those interested in Theatre and Film History more generally.

Some of the most beloved characters in film and television inhabit two-dimensional worlds that spring from the fertile imaginations of talented animators. The movements, characterizations, and settings in the best animated films are as vivid as any live action film, and sometimes seem more alive than life itself. In this case, Hollywood’s marketing slogans are fitting; animated stories are frequently magical, leaving memories of happy endings in young and old alike. However, the fantasy lands animators create bear little resemblance to the conditions under which these artists work. Anonymous animators routinely toiled in dark, cramped working environments for long hours and low pay, especially at the emergence of the art form early in the twentieth century. In Drawing the Line, veteran animator Tom Sito chronicles the efforts of generations of working men and women artists who have struggled to create a stable standard of living that is as secure as the worlds their characters inhabit. The former president of America’s largest animation union, Sito offers a unique insider’s account of animators’ struggles with legendary studio kingpins such as Jack Warner and Walt Disney, and their more recent battles with Michael Eisner and other Hollywood players. Based on numerous archival documents, personal interviews, and his own experiences, Sito’s history of animation unions is both carefully analytical and deeply personal. Drawing the Line stands as a vital corrective to this field of Hollywood history and is an important look at the animation industry’s past, present, and future. Like most elements of the modern commercial media system, animation is rapidly being changed by the forces of globalization and technological innovation. Yet even as pixels replace pencils and bytes replace paints, the working relationship between employer and employee essentially remains the same. In Drawing the Line, Sito challenges the next wave of animators to heed the lessons of their predecessors by organizing and acting collectively to fight against the enormous pressures of the marketplace for their class interests—and for the betterment of their art form.