Movie History — Season 9 — The Black Case Diaries

The Historical Case of Women in Animation

As this year’s Animation April comes to a close, we thought we could discuss a topic that has been on our list for quite some time. During past years, we’ve covered the histories behind several animation studios like PIXAR, Laika, Cartoon Saloon, Amblimation, and Bluesky. We’ve discussed the history of animation, the rise of Walt Disney, and even the history behind a few specific animated films. And after poring over countless articles, watching several documentaries and DVD commentaries, and tracking down dozens of library books on the topic, we noticed that there was something–actually a lot of things–missing from the history of animation: women.
But it’s not as though women simply weren’t there in the early days of animation. In fact, women worked on Snow White and the Seven Dwarfs, one of the first full-length animated films. However, women were almost always relegated to ink and paint departments, which meant that they were responsible for creating animation cells based on drawings. It was an incredibly important part of the medium, but these women had no creative input on the final product. For many years, women were either consistently rejected from animation and story departments, or they were hired and not given credit for their work.

The Case of Don Bluth

Littlefoot, Fievel the Mouse, the heroic Mrs. Brisby; these familiar characters left a lasting impression when they made it to the big screen in the 1980s. In an era when the animation juggernaut known as Walt Disney was struggling to bring in viewers, these were the characters that carried on the tradition of beautifully crafted hand-drawn animation. They captured the imagination of children and adults alike, and showcased the talent of Don Bluth, the creator behind such classics as The Secret of NIMH and An American Tale.

When Bluth and fellow animator Gary Goldman left Disney Animation Studios in the early 1980s, they sent waves through the film industry. Several talented animators followed Bluth and Goldman because they too were concerned about the direction in which Disney animation was heading. When he founded his own studio, Bluth’s goal was to create the kind of animation that Walt Disney himself would love, while also providing healthy competition to Bluth’s former employer.

But this is just one part of Bluth’s life and career. Today we’re taking a look at the animator’s life, and celebrating just some of the art that he has created (so far). So fire up those VCRs and settle in, friends! It’s time to learn about the life of Don Bluth.

The Case of The Lion King (1994)

In the mid-1990s, Walt Disney Animation was several years into an era that would become known as their Renaissance. Recent releases like The Little Mermaid, Beauty and the Beast, and Aladdin had dazzled audiences with their beautiful visuals, great storytelling, superb acting performances, and of course, their music. In June of 1994, Disney proved that its box-office reign was far from over, with the release of a film that many consider to be the best animated Disney movie of all time: The Lion King.

The Case of IT (1990)

In 1986, the unofficial “King” of horror (Stephen King) unleashed what would become one of his quintessential stories. It was a saga about a group of outcasts that bands together to survive–and then later–take down a horrifying monster that feasts on children. The book’s title, IT, played on one of the key ingredients to a truly terrifying villain: not knowing what it is.

Only a couple years later, ABC was considering making a made-for-TV film based on the novel. The task was ambitious to say the least, since the source material is over a thousand pages long. The network also faced the challenge of towing the line between being a faithful adaptation and getting past the TV censors.
So, let’s head into the town of Derry, Maine, and learn more about the 1990 mini series based on Stephen King’s novel, IT!