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Disney School of Acting and Mime
- 104 statements
- 19 feature instances
- 16 referencing feature instances
| Disney School of Acting and Mime | type |
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| Disney School of Acting and Mime | comment |
An animation style, exemplified by the Disney Animated Canon and hence generally considered Disneyesque, which is characterized by a kind of fluid body language and facial expressions that feature realistic poses and movements which are, however, executed in an exaggerated manner, very expressive, often with sweeping gestures of the arms and hands. Characters act and emote not primarily with their faces but at least as much with their arms, hands and legs and move smoothly from one overly expressive pose to the next. In between poses, there's a notable acceleration and subsequent deceleration of the emoting limbs or facial features, making even small gestures and changes in stance or facial expression feel very pronounced and reminiscent of pantomime. Because of the accelerating and decelerating that occurs in every movement, those movements can take rather long and can hence feel a little like Slow Motion. This animation style can focus on the poses (and have the characters zip from one pose to the next) or on the movements (drawing them out and never quite stopping) to distinguish between emotional states or different characters. Note that Hamming it Large 101 is a required class at the Disney School of Acting and Mime — after all, gesturing plentifully is a great way to convey emotion silently. The realistic but overblown movements hark back to Silent Movies and Vaudeville when actors had to emote more visibly—curiously, while that kind of live action acting has long fallen to the wayside in mainstream works, animation still uses it without irony simply because it's easier to convey emotions and acting that way than by trying to emulate more subtle live action acting, which is very difficult and in some cases downright impossible to get across in drawing form (and going too far with it can end up in another trope altogether). The style is rooted in visual realism while many younger animated works (after the migration of cartoons from film to TV) are more stylized and hence easier and cheaper to animate as not the whole body of a character has to move from one frame to the next. This also sets this style apart from Anime. Recent movies like Tangled manage to transpose the style, which is largely associated with 2D animation, into CGI. Historically, this often went together with Mickey Mousing, accentuating a character's body language even further. Also see The Twelve Principles of Animation. |
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| Disney School of Acting and Mime / int_1f72b18d | comment |
Tom and Jerry uses this out of necessity, due to the characters having almost no dialogue. Same for the movie. The MGM Oneshot Cartoons and Barney Bear shorts likewise use this, due in part to having many ex Disney staffers on board and the shorts having little to no dialogue. Harman and Ising initially didn't use this in their early Looney Tunes shorts like Bosko or in their early Happy Harmonies, but as their draftsmanship and animation improved, they switched to this method of acting. |
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| Disney School of Acting and Mime / int_23945975 | type |
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| Disney School of Acting and Mime / int_23945975 | comment |
Disney Animated Canon: Trope Codifier. In The Illusion of Life, Frank Thomas and Ollie Johnston discuss that the reason Disney animators use this kind of acting is because it's simply impossible for animation to match the same level of subtle acting or screen presence as live action, even with tools that closely try to emulate it like rotoscoping, and that it's more sensible to exaggerate rather than directly copy real life. Wreck-It Ralph has a rare aversion of this with the Nicelanders, who are animated in a very stilted, mechanical style to emulate the movement of 8-Bit sprites in CGI form. Word of God says the effect was much harder to achieve than it looked, because the Disney animators had been so conditioned to always avoid using this style of movement in their animation. Classic Disney animated shorts and TV shows. |
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| Disney School of Acting and Mime / int_261c8d3f | type |
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| Disney School of Acting and Mime / int_261c8d3f | comment |
The Simpsons intentionally bucks this kind of theatrical, hammy character acting in favor of subdued, realistic movements, in line with the show's more down-to-earth nature compared to other cartoons at the time. It was a contributing factor in the style falling out of favor with television animators, as few shows released after The Simpsons' meteoric rise to fame (even comedies) have intentionally adhered to it. | |
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| Disney School of Acting and Mime / int_295f2b35 | type |
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| Disney School of Acting and Mime / int_295f2b35 | comment |
The Legend of Zelda CD-i Games are an example of this trope getting far out of hand. The Russian animators allegedly modeled the poses off of pantomime. | |
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| Disney School of Acting and Mime / int_2bbcacd9 | type |
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| Disney School of Acting and Mime / int_2bbcacd9 | comment |
Looney Tunes, although they do have plenty of non-mime acting at the same time. Warner Bros. also used this in their Renaissance Age animated films, such as Cats Don't Dance, Quest for Camelot, The Iron Giant, Osmosis Jones, and Space Jam; and TV series, like Tiny Toon Adventures, Animaniacs, Pinky and the Brain, and Freakazoid!. | |
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| Disney School of Acting and Mime / int_2e1df124 | type |
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| Disney School of Acting and Mime / int_2e1df124 | comment |
Wreck-It Ralph has a rare aversion of this with the Nicelanders, who are animated in a very stilted, mechanical style to emulate the movement of 8-Bit sprites in CGI form. Word of God says the effect was much harder to achieve than it looked, because the Disney animators had been so conditioned to always avoid using this style of movement in their animation. | |
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| Disney School of Acting and Mime / int_396e0331 | type |
Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_396e0331 | comment |
Classic Disney animated shorts and TV shows. | |
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| Disney School of Acting and Mime / int_6956d9bf | type |
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| Disney School of Acting and Mime / int_6956d9bf | comment |
The Swan Princess films use this, since its director, Richard Rich, was a former Disney animator. | |
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| The Swan Princess | hasFeature |
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| Disney School of Acting and Mime / int_8258e260 | type |
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Later games in the Super Mario Bros. series are fond of this style of acting. It's particularly pronounced in the Nintendo Switch entries, with Super Mario Odyssey and Luigi's Mansion 3 being standout examples. | |
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| Disney School of Acting and Mime / int_a0500a06 | type |
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| Disney School of Acting and Mime / int_a0500a06 | comment |
Rugrats intentionally avoided this style of acting to better serve the down to earth tone of the series. The original style guide for the show◊ even warned the artists not to use theatrical gestures like finger pointing for the babies, saying that characters like Tommy, being one year old, should be free of any kind of acting that conveys affection, maturity, cultural conditioning and malice. The movies get a little more expressive in the acting, but nowhere to the extent of a Disney movie. | |
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| Disney School of Acting and Mime / int_af2a147e | type |
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| Disney School of Acting and Mime / int_af2a147e | comment |
In Enchanted, characters from the cartoon fairy-tale world of Andalasia gesture broadly with their hands even in live-action form. | |
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Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_af457929 | comment |
Eight Crazy Nights uses this, something that is actually extremely unusual for more adult-oriented animation. Little surprise, since animators from The Iron Giant worked on this film as well. | |
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Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_bfc37d9e | comment |
The MGM Oneshot Cartoons and Barney Bear shorts likewise use this, due in part to having many ex Disney staffers on board and the shorts having little to no dialogue. | |
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| Disney School of Acting and Mime / int_ccd1ec22 | type |
Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_ccd1ec22 | comment |
The Thief and the Cobbler uses this. | |
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| Disney School of Acting and Mime / int_d46cc708 | type |
Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_d46cc708 | comment |
Danny Antonucci likewise tells his animators to avoid this style of acting in his cartoons. | |
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| Disney School of Acting and Mime / int_e53e8d5 | type |
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| Disney School of Acting and Mime / int_e53e8d5 | comment |
Felix the Cat is one of the earliest examples of using this in animation, and it's justified, since almost all of the original B&W films were silent cartoons. Otto Messmer had studied actor Charlie Chaplin extensively (even working on a cartoon series based on him prior to creating Felix) and realized how important it was to get this kind of expressive acting into drawings. While the cartoons do employ speech balloons for the characters to talk, a lot of the personality is conveyed through the broad, hammy poses and animation. | |
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| Disney School of Acting and Mime / int_e8735bd8 | type |
Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_e8735bd8 | comment |
In The Illusion of Life, Frank Thomas and Ollie Johnston discuss that the reason Disney animators use this kind of acting is because it's simply impossible for animation to match the same level of subtle acting or screen presence as live action, even with tools that closely try to emulate it like rotoscoping, and that it's more sensible to exaggerate rather than directly copy real life. | |
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| Disney School of Acting and Mime / int_f42fa008 | type |
Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_f42fa008 | comment |
Hotel Transylvania uses this quite a bit. | |
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| Disney School of Acting and Mime / int_f6a54e75 | type |
Disney School of Acting and Mime | |
| Disney School of Acting and Mime / int_f6a54e75 | comment |
In Kingdom Hearts, being a Square-Enix and Disney crossover, the Square-Enix animators make an effort to convert the Disney characters' acting style into video game graphics. It doesn't quite translate, and you can definitely tell you're not looking at Disney-made animation. Most of the anime-style characters created specifically for the series also emote this way, to interesting effect, while characters who cameo from other Square-Enix properties stick to a more stoic, subdued acting style more characteristic of Japanese animation. | |
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