Walt Disney

Walt Disney was an American motion-picture and television producer and showman, famous as a pioneer of animated cartoon films and as the creator of such cartoon characters as Mickey Mouse and Donald Duck. He also planned and built Disneyland, a huge amusement park that opened near Los Angeles in 1955, and before his death he had begun building a second such park, Walt Disney World, near Orlando, Florida. The Disney Company he founded has become one of the world’s largest entertainment conglomerates. A pioneer of the American animation industry, he introduced several developments in the production of cartoons. 
As a film producer, he holds the record for most Academy Awards earned and nominations by an individual. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors. Several of his films are included in the National Film Registry by the Library of Congress and have also been named as some of the greatest films ever by the American Film Institute. Widely considered to be one of the most influential cultural figures of the 20th century, Disney remains an important presence in the history of animation and in the cultural history of the United States, where he is acknowledged as a national cultural icon. His film work continues to be shown and adapted, the Disney theme parks have grown in size and number to attract visitors in several countries and his company has grown to become one of the world's largest mass media and entertainment conglomerates.
== Early life ==
Walter Elias Disney was the fourth son of Elias Disney, a peripatetic carpenter, farmer, and building contractor, and his wife, Flora Call, who had been a public school teacher. When Walt was little more than an infant, the family moved to a farm near Marceline, Missouri, a typical small Midwestern town, which is said to have furnished the inspiration and model for the Main Street, U.S.A., of Disneyland. There Walt began his schooling and first showed a taste and aptitude for drawing and painting with crayons and watercolours.
His restless father soon abandoned his efforts at farming and moved the family to Kansas City, Missouri, where he bought a morning newspaper route and compelled his young sons to assist him in delivering papers. Walt later said that many of the habits and compulsions of his adult life stemmed from the disciplines and discomforts of helping his father with the paper route. In Kansas City the young Walt began to study cartooning with a correspondence school and later took classes at the Kansas City Art Institute and School of Design. In 1917 the Disneys moved back to Chicago, and Walt entered McKinley High School, where he took photographs, made drawings for the school paper, and studied cartooning on the side, for he was hopeful of eventually achieving a job as a newspaper cartoonist. His progress was interrupted by World War I, in which he participated as an ambulance driver for the American Red Cross in France and Germany. Returning to Kansas City in 1919, he found occasional employment as a draftsman and inker in commercial art studios, where he met Ub Iwerks, a young artist whose talents contributed greatly to Walt’s early success.
== First animated cartoons ==
Dissatisfied with their progress, Disney and Iwerks started a small studio of their own in 1922 and acquired a secondhand movie camera with which they made one and two-minute animated advertising films for distribution to local movie theatres. They also did a series of animated cartoon sketches called Laugh-O-grams and the pilot film for a series of seven-minute fairy tales that combined both live action and animation, Alice in Cartoonland. A New York film distributor cheated the young producers, and Disney was forced to file for bankruptcy in 1923. He moved to California to pursue a career as a cinematographer, but the surprise success of the first Alice film compelled Disney and his brother Roy—a lifelong business partner—to reopen shop in Hollywood. With Roy as business manager, Disney resumed the Alice series, persuading Iwerks to join him and assist with the drawing of the cartoons. They invented a character called Oswald the Lucky Rabbit, contracted for distribution of the films at $1,500 each, and propitiously launched their small enterprise. In 1927, just before the transition to sound in motion pictures, Disney and Iwerks experimented with a new character—a cheerful, energetic, and mischievous mouse called Mickey. They had planned two shorts, called Plane Crazy and Gallopin’ Gaucho, that were to introduce Mickey Mouse when The Jazz Singer, a motion picture with the popular singer Al Jolson, brought the novelty of sound to the movies. Fully recognizing the possibilities for sound in animated-cartoon films, Disney quickly produced a third Mickey Mouse cartoon equipped with voices and music, entitled Steamboat Willie, and cast aside the other two soundless cartoon films. 
When it appeared in 1928, Steamboat Willie was a sensation.
The following year Disney started a new series called Silly Symphonies with a picture entitled The Skeleton Dance, in which a skeleton rises from the graveyard and does a grotesque, clattering dance set to music based on classical themes. Original and briskly syncopated, the film ensured popular acclaim for the series, but, with costs mounting because of the more complicated drawing and technical work, Disney’s operation was continually in peril. The growing popularity of Mickey Mouse and his girlfriend, Minnie, however, attested to the public’s taste for the fantasy of little creatures with the speech, skills, and personality traits of human beings. (Disney himself provided the voice for Mickey until 1947.) This popularity led to the invention of other animal characters, such as Donald Duck and the dogs Pluto and Goofy. In 1933 Disney produced a short, The Three Little Pigs, which arrived in the midst of the Great Depression and took the country by storm. Its treatment of the fairy tale of the little pig who works hard and builds his house of brick against the huffing and puffing of a threatening wolf suited the need for fortitude in the face of economic disaster, and its song “Who’s Afraid of the Big Bad Wolf?”was a happy taunting of adversity. It was in this period of economic hard times in the early 1930s that Disney fully endeared himself and his cartoons to audiences all over the world, and his operation began making money in spite of the Depression. Disney had by that time gathered a staff of creative young people, who were headed by Iwerks. Colour was introduced in the Academy Award-winning Silly Symphonies film Flowers and Trees (1932), while other animal characters came and went in films such as The Grasshopper and the Ants (1934) and The Tortoise and the Hare (1935). Roy franchised tie-in sales with the cartoons of Mickey Mouse and Donald Duck—watches, dolls, shirts, and tops—and reaped more wealth for the company.
== Feature-length cartoons ==
Walt Disney was never one to rest or stand still. He had long thought of producing feature-length animated films in addition to the shorts. In 1934 he began work on a version of the classic fairy tale Snow White and the Seven Dwarfs (1937), a project that required great organization and coordination of studio talent and a task for which Disney possessed a unique capacity. While he actively engaged in all phases of creation in his films, he functioned chiefly as coordinator and final decision maker rather than as designer and artist. Snow White was widely acclaimed by critics and audiences alike as an amusing and sentimental romance. By animating substantially human figures in the characters of Snow White, the Prince, and the Wicked Queen and by forming caricatures of human figures in the seven dwarfs, Disney departed from the scope and techniques of the shorts and thus proved animation’s effectiveness as a vehicle for feature-length stories. While Disney continued to do short films presenting the anthropomorphic characters of his little animals, he was henceforth to develop a wide variety of full-length entertainment films, such as Pinocchio (1940), Dumbo (1941), and Bambi (1942). Disney also produced a totally unusual and exciting film—his multisegmented and stylized Fantasia (1940), in which cartoon figures and colour patterns were animated to the music of Igor Stravinsky, Paul Dukas, Pyotr Ilyich Tchaikovsky, and others. In 1940 Disney moved his company into a new studio in Burbank, California, abandoning the old plant it had occupied in the early days of growth.
== Major films and television productions ==
A strike by Disney animators in 1941 was a major setback for the company. Many top animators resigned, and it would be many years before the company produced animated features that lived up to the quality of its early 1940s classics. Disney’s foray into films for the federal government during World War II helped the studio perfect methods of combining live-action and animation; the studio’s commercial films using this hybrid technique include The Reluctant Dragon (1941), Saludos Amigos (1942), The Three Caballeros (1945), Make Mine Music (1946), and Song of the South (1946). 
The Disney studio by that time was established as a big-business enterprise and began to produce a variety of entertainment films. One popular series, called True-Life Adventures, featured nature-based motion pictures such as Seal Island (1948), Beaver Valley (1950), and The Living Desert (1953). The Disney studio also began making full-length animation romances, such as Cinderella (1950), Alice in Wonderland (1951), and Peter Pan (1953), and produced low-budget, live-action films, including The Absent-Minded Professor (1961). The Disney studio was among the first to foresee the potential of television as a popular entertainment medium and to produce programs directly for it. The Zorro and Davy Crockett series were very popular with children, and a weekly showcase (known by several titles, including Walt Disney’s Wonderful World of Color) became a Sunday night fixture. The Mickey Mouse Club, a variety show featuring a cast of teenage performers known as the Mouseketeers, was also successful. The climax of Disney’s career as a producer, however, came with his release in 1964 of the motion picture Mary Poppins, which won worldwide popularity.
== Disneyland ==
For several years Disney had been considering building a theme park. When he visited Griffith Park in Los Angeles with his daughters, he wanted to be in a clean, unspoiled park, where both children and their parents could have fun. He visited the Tivoli Gardens in Copenhagen, Denmark, and was heavily influenced by the cleanliness and layout of the park. In March 1952, he received zoning permission to build a theme park in Burbank, near the Disney studios. This site proved too small, and a larger plot in Anaheim, 35 miles (56 km) south of the studio, was purchased. To distance the project from the studio‍—‌which might attract the criticism of shareholders‍—‌Disney formed WED Enterprises (now Walt Disney Imagineering) and used his own money to fund a group of designers and animators to work on the plans; those involved became known as "Imagineers". 
After obtaining bank funding he invited other stockholders, American Broadcasting-Paramount Theatres‍—‌part of American Broadcasting Company (ABC)‍—‌and Western Printing and Lithographing Company. In mid-1954, Disney sent his Imagineers to every amusement park in the U.S. to analyze what worked and what pitfalls or problems there were in the various locations and incorporated their findings into his design. Construction work started in July 1954, and Disneyland opened in July 1955; the opening ceremony was broadcast on ABC, which reached 70 million viewers. The park was designed as a series of themed lands, linked by the central Main Street, U.S.A.‍—‌a replica of the main street in his hometown of Marceline. The connected themed areas were Adventureland, Frontierland, Fantasyland and Tomorrowland. The park also contained the narrow gauge Disneyland Railroad that linked the lands; around the outside of the park was a high berm to separate the park from the outside world. An editorial in The New York Times considered that Disney had "tastefully combined some of the pleasant things of yesterday with fantasy and dreams of tomorrow". Although there were early minor problems with the park, it was a success, and after a month's operation, Disneyland was receiving over 20,000 visitors a day; by the end of its first year, it attracted 3.6 million guests.
== Illness, death and aftermath ==
Disney had been a heavy smoker since World War I. He did not use cigarettes with filters and had smoked a pipe as a young man. In early November 1966, he was diagnosed with lung cancer and was treated with cobalt therapy. On November 30, he felt unwell and was taken by ambulance from his home to St. Joseph Hospital where, on December 15, at age 65, he died of circulatory collapse caused by the cancer. His remains were cremated two days later and his ashes interred at the Forest Lawn Memorial Park in Glendale, California.
The release of The Jungle Book and The Happiest Millionaire in 1967 raised the total number of feature films that Disney had been involved in to 81. When Winnie the Pooh and the Blustery Day was released in 1968, it earned Disney an Academy Award in the Short Subject (Cartoon) category, awarded posthumously. After Disney's death, his studios continued to produce live-action films prolifically while the quality of their animated films was allowed to languish. In the late 1980s, this trend was reversed in what The New York Times describes as the "Disney Renaissance" that began with The Little Mermaid (1989). Disney's studios continue to produce successful film, television and stage entertainment. Disney's plans for the futuristic city of EPCOT did not come to fruition. After Disney's death, his brother Roy deferred his retirement to take full control of the Disney companies. He changed the focus of the project from a town to an attraction. At the inauguration in 1971, Roy dedicated Walt Disney World to his brother. Walt Disney World expanded with the opening of Epcot Center in 1982; Walt Disney's vision of a functional city was replaced by a park more akin to a permanent world's fair. In 2009, the Walt Disney Family Museum, designed by Disney's daughter Diane and her son Walter E. D. Miller, opened in the Presidio of San Francisco. Thousands of artifacts from Disney's life and career are on display, including numerous awards that he received. In 2014, the Disney theme parks around the world hosted approximately 134 million visitors.
== Reputation ==
Views of Disney and his work have changed over the decades, and there have been polarized opinions. Mark Langer, in the American Dictionary of National Biography, writes that "Earlier evaluations of Disney hailed him as a patriot, folk artist, and popularizer of culture. More recently, Disney has been regarded as a paradigm of American imperialism and intolerance, as well as a debaser of culture." Steven Watts wrote that some denounce Disney "as a cynical manipulator of cultural and commercial formulas", while PBS records that critics have censured his work because of its "smooth façade of sentimentality and stubborn optimism, its feel-good re-write of American history".
Disney has been accused of Anti-Semitism for having given Nazi propagandist Leni Riefenstahl a tour of his studio a month after Kristallnacht. Riefenstahl's invitation was solicited to Disney by painter and ballet dancer Hurbert "Jay" Stowitts, a close friend of Riefenstahl, and a former colleague of Leopold Stokowski who at the time was collaborating with Disney on Fantasia. A month later a spokesperson for Disney told the New York Daily News: "Miss Refiensthal got into the studio, but she crashed the gate. A Los Angeles man who is known to Disney obtained permission to take a party thorugh the plant. Leni was in the party. If we had known in advance she wouldn't have got in." It has been suggested that Disney's meeting with Riefenstahl was also likely financially motivated as an attempt by Disney to recover more than 135,000 Reichmarks owed from his German film distributor and to get the ban on Disney films lifted in Germany. According to Disney biographer Neal Gabler, Disney was apolitical and "something of a political naïf" during the 1930s and he had previously told one reporter – as tensions in Europe were brewing – that America should "let 'em fight their own wars" claiming he had "learned my lesson" from World War I. Disney also demonstrated his political naivete in an October 1933 issue of Overland Monthly claiming: "...there must be millions of people who have a downright feeling of animosity for our M. Mouse. Mr. A. Hitler, the Nazi old thing, says that Mickey's silly. Imagine that! Well, Mickey is going to save Mr. A Hitler from drowning or something some day. Just wait and see if he doesn't. Then won't Mr. A. Hitler be ashamed!". In late 1939, when Disney was disscussing plans to move his staff to a newly built studio in Burbank, one employee asked him how the recently begun War in Europe would affect its construction - to which Disney responded by asking: "What war?" During World War II, Disney was actively involved in making propaganda films against the Nazis, both for the general public (such as Der Fuehrer's Face and Education for Death), as well as educational and training films exclusively for the United States Government. As early as March 1941 (several months before America's entry into the war) Disney began offering his services to various branches of the United States Armed Forces to make training films "...for national defence industries at cost and without profit. In making this offer, I am motivated solely by a desire to help as best I can in the present emergency." Since many of these training films contained highly classified information and required the highest level of security clearance to be viewed, if Disney had any previous sympathies towards Nazi Germany, the U.S. Government would have likely disqualified him from making these films.
The Walt Disney Family Museum acknowledges that ethnic stereotypes common to films of the 1930s were included in some early cartoons but also points out that Disney donated regularly to Jewish charities and was named the 1955 "Man of the Year" by the B'nai B'rith chapter in Beverly Hills. The organization itself found no evidence of anti-Semitism on Disney's part. The plaque read: "For exemplifying the best tenets of American citizenship and inter-group understanding and interpreting into action the ideals of B'nai B'rith." Disney had numerous Jewish employees, many of whom were in influential positions. None of Disney's employees including animator Art Babbitt, who disliked Disney intensely – ever accused him of making anti-Semitic slurs or taunts. Jewish story man Joe Grant, who worked closely with Disney throughout the 1930s and 1940s stated, "As far as I'm concerned, there was no evidence of anti-Semitism. I think the whole idea should be put to rest and buried deep. He was not anti-Semitic. Some of the most influential people at the studio were Jewish. It's much ado about nothing. I never once had a problem with him in that way." In addition songwriter Robert B. Sherman recalled that when one of Disney's lawyers made anti-Semitic remarks towards him and his brother Richard, Disney defended them and fired the attorney. Gabler, the first writer to gain unrestricted access to the Disney archives, concludes that the available evidence does not support accusations of anti-Semitism and that Disney largely got that reputation due to his association with Motion Picture Alliance for the Preservation of American Ideals – an anti-Communist organization formed in 1944, that was rumored to have anti-Semitic undertones. Gabler concludes that "...though Walt himself, in my estimation, was not anti-Semitic, nevertheless, he willingly allied himself with people who were anti-Semitic, and that reputation stuck. He was never really able to expunge it throughout his life." Disney distanced himself from the Motion Picture Alliance, and had no involvement with the organization after 1947. According to Disney's daughter Diane Disney-Miller, her sister Sharon dated a Jewish boyfriend for a period of time, to which her father raised no objections and even reportedly said, "Sharon, I think it's wonderful how these Jewish families have accepted you."
Disney has also been accused of other forms of racism because some of his productions released between the 1930s and 1950s contain racially insensitive material. Gabler argues that "Walt Disney was no racist. He never, either publicly or privately, made disparaging remarks about blacks or asserted white superiority. Like most white Americans of his generation, however, he was racially insensitive." The feature film Song of the South was criticized by contemporary film critics, the NAACP, and others for its perpetuation of black stereotypes, but during filming Disney became close friends with its star, James Baskett, describing him in a letter to his sister Ruth as "the best actor, I believe, to be discovered in years." Disney and Baskett stayed in contact long after the film's production, with Walt even sending him gifts. When Baskett was in failing health, Disney not only began financially supporting him and his family, but also campaigned successfully for an Honorary Academy Award for his performance, making Baskett the first black actor so honored. Baskett died shortly afterward, and his widow wrote Disney a letter of gratitude for his support claiming he had been a "friend in deed and [we] certainly have been in need." Floyd Norman, the studio's first black animator who worked closely with Disney during the 1950s and 1960s, said, "Not once did I observe a hint of the racist behavior Walt Disney was often accused of after his death. His treatment of people‍—‌and by this I mean all people‍—‌can only be called exemplary."
Watts argues that many of Disney's post-World War II films "legislated a kind of cultural Marshall Plan. They nourished a genial cultural imperialism that magically overran the rest of the globe with the values, expectations, and goods of a prosperous middle-class United States." Film historian Jay P. Telotte acknowledges that many see Disney's studio as an "agent of manipulation and repression", although he observes that it has "labored throughout its history to link its name with notions of fun, family, and fantasy". John Tomlinson, in his study Cultural Imperialism, examines the work of Ariel Dorfman and Armand Mattelart, whose 1971 book Para leer al Pato Donald (transl. How to Read Donald Duck) identifies that there are "imperialist ... values 'concealed' behind the innocent, wholesome façade of the world of Walt Disney"; this, they argue, is a powerful tool as "it presents itself as harmless fun for consumption by children." Tomlinson views their argument as flawed, as "they simply assume that reading American comics, seeing adverts, watching pictures of the affluent ... ['Yankee'] lifestyle has a direct pedagogic effect".
Disney has been portrayed numerous times in fictional works. H. G. Wells references Disney in his 1938 novel The Holy Terror, in which World Dictator Rud fears that Donald Duck is meant to lampoon the dictator. Disney was portrayed by Len Cariou in the 1995 made-for-TV film A Dream Is a Wish Your Heart Makes: The Annette Funicello Story, and by Tom Hanks in the 2013 film Saving Mr. Banks. In 2001, the German author Peter Stephan Jungk published Der König von Amerika (trans: The King of America), a fictional work of Disney's later years that re-imagines him as a power-hungry racist. The composer Philip Glass later adapted the book into the opera The Perfect American (2013).
Several commentators have described Disney as a cultural icon. On Disney's death, journalism professor Ralph S. Izard comments that the values in Disney's films are those "considered valuable in American Christian society", which include "individualism, decency, ... love for our fellow man, fair play and toleration". Disney's obituary in The Times calls the films "wholesome, warm-hearted and entertaining ... of incomparable artistry and of touching beauty". Journalist Bosley Crowther argues that Disney's "achievement as a creator of entertainment for an almost unlimited public and as a highly ingenious merchandiser of his wares can rightly be compared to the most successful industrialists in history." Correspondent Alistair Cooke calls Disney a "folk-hero ... the Pied Piper of Hollywood", while Gabler considers Disney "reshaped the culture and the American consciousness". In the American Dictionary of National Biography, Langer writes:Disney remains the central figure in the history of animation. Through technological innovations and alliances with governments and corporations, he transformed a minor studio in a marginal form of communication into a multinational leisure industry giant. Despite his critics, his vision of a modern, corporate utopia as an extension of traditional American values has possibly gained greater currency in the years after his death.In December 2021, the Metropolitan Museum of Art in New York opened a three-month special exhibit in honor of Disney titled "Inspiring Walt Disney".
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