Mickey Mouse Film Series
Mickey Mouse (originally Mickey Mouse Sound Cartoons) is a character-based series of animated short films produced by Walt Disney Animation Studios. The films, which introduced and star Disney's most famous cartoon character, were released on a regular basis from 1928 to 1953 with three additional installments in 1983, 1990, and 1995. Besides launching the careers of several well-known characters, the series is notable for its innovation with sound synchronization and character animation.
The name "Mickey Mouse" was first used in the films' title sequences to refer specifically to the character, but was used from 1935 to 1953 to refer to the series itself as in "Walt Disney presents a Mickey Mouse". In this sense, "a Mickey Mouse" was truncated from "a Mickey Mouse sound cartoon" which was used in the earliest films. Black-and-white films rereleased during this time also used this naming convention. Mickey's name was also used occasionally to present other films which were formally part of other film series. Examples of this include several Silly Symphonies, Don Donald (1937), and Goofy and Wilbur (1939).
Read more about Mickey Mouse Film Series: Production, List of Films, Releases
Famous quotes containing the words mickey mouse, mickey, mouse, film and/or series:
“The 1950s to me is darkness, hidden history, perversion behind most doors waiting to creep out. The 1950s to most people is kitsch and Mickey Mouse watches and all this intolerable stuff.”
—James Ellroy (b. 1948)
“... memory is the only way home.”
—Terry Tempest Williams, U.S. author. As quoted in Listen to Their Voices, ch. 10, by Mickey Pearlman (1993)
“A mouse does not run into the mouth of a sleeping cat.”
—Estonian. Trans. by Ilse Lehiste (1993)
“All film directors, whether famous or obscure, regard themselves as misunderstood or underrated. Because of that, they all lie. They’re obliged to overstate their own importance.”
—François Truffaut (1932–1984)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)