Some of this was already covered in Jello's Snow White Review and my own WWII Animation piece, though I will retcon one part of my piece.
Walt Disney: an Animated Life
[....] Snow White was the vanguard of animated social realism, replacing the fairy tale elements with more realistic and social friendly replacements, (making Snow White a simple peasant girl rather than a princess, for instance) while also using more realistic and experimental animation. Disney continued this trend, when he made Alice in Wonderland, showing a more twisted and demented Wonderland than portrayed in the Lewis Carroll novels. John Carter, the black sheep of early Hyperion, largely by being mostly made by animator Bob Clampett of Merrie Melodies, which was finished by Hyperion animators after Clampett failed to get support there or any other collectives, was more hectic and frantic, befitting of an action science fiction film. Even then, the aesthetic of the film owes more to the Soviet film Aelita than to the original stories. In the mid-30's, Disney decided to raise Morty's profile by creating a short based off the Johann Wolfgang von Goethe poem The Sorcerer's Apprentice and set to the tune of the Paul Dukas piece based off the same poem. After meeting Leopold Stokowski, conductor of the Philadelphia Orchestra, to do the music, the short quickly expanded into several shorts, each using a classical piece as the backdrop of the animation. It was the most ambitious Disney film yet.
[...]
As work finished up on Fantasia, Disney got a call from Foreign Affairs. They had noted the popularity of Disney cartoons in the newly Communist nations of Central and South America, including those of Morty Mouse and Donald Duck. Some ambassadors even requested reels of the cartoons to bring home with them. With the ascension of Integralist Brazil, Foreign Affairs decided to create a Hyperion film to help connect the people of the UASR and the Latin Communist states, to show why the UASR must defend them from Brazil. A common story has Foreign Secretary John Reed himself calling Disney up to discuss the particulars of the films (which is untrue, although records indicate that he did approve the action) Disney agreed, and after the release of Fantasia took a group of animators around Latin America, where they observed traditions and photographed the cities. They also made shorts to play between the footage, emphasizing Latin American traditions in the form of slapstick comedy. Saludos Camaradas became a cult hit in Latin America, because of its appreciation of their traditions and culture.
[...]
Despite making wartime propaganda, regular feature films were still made. Bambi, based off the novel by the exiled Austrian author Felix Salten, was released in 1942, a look into the life of a deer of the same name. Disney also read a British book at that time, Victory through Air Power, by Alexander P. de Seversky, a Russian American emigre to Great Britain. Impressed, he made a film version to get de Seversky's ideas around. Despite his and Disney's differing politics, de Seversky did appear in the film. Other films considered included The Reluctant Dragon , a film about the making of an animated feature, and a film based off the stories of Joel Chandler Harris, whom Disney had grown up reading (the latter was rejected because of the racist overtones and "Lost Cause" tone of most of those stories)[1].
[1] OTL, this film became Song of the South.
----------------------------
I'll do one last part going into the 50's. However, I would like to know if how amusement parks would work in the UASR. Obviously, Disneyland is impossible ITTL, but would a smaller, more localized version of it work? No expansion beyond one park.
Walt Disney: an Animated Life
[....] Snow White was the vanguard of animated social realism, replacing the fairy tale elements with more realistic and social friendly replacements, (making Snow White a simple peasant girl rather than a princess, for instance) while also using more realistic and experimental animation. Disney continued this trend, when he made Alice in Wonderland, showing a more twisted and demented Wonderland than portrayed in the Lewis Carroll novels. John Carter, the black sheep of early Hyperion, largely by being mostly made by animator Bob Clampett of Merrie Melodies, which was finished by Hyperion animators after Clampett failed to get support there or any other collectives, was more hectic and frantic, befitting of an action science fiction film. Even then, the aesthetic of the film owes more to the Soviet film Aelita than to the original stories. In the mid-30's, Disney decided to raise Morty's profile by creating a short based off the Johann Wolfgang von Goethe poem The Sorcerer's Apprentice and set to the tune of the Paul Dukas piece based off the same poem. After meeting Leopold Stokowski, conductor of the Philadelphia Orchestra, to do the music, the short quickly expanded into several shorts, each using a classical piece as the backdrop of the animation. It was the most ambitious Disney film yet.
[...]
As work finished up on Fantasia, Disney got a call from Foreign Affairs. They had noted the popularity of Disney cartoons in the newly Communist nations of Central and South America, including those of Morty Mouse and Donald Duck. Some ambassadors even requested reels of the cartoons to bring home with them. With the ascension of Integralist Brazil, Foreign Affairs decided to create a Hyperion film to help connect the people of the UASR and the Latin Communist states, to show why the UASR must defend them from Brazil. A common story has Foreign Secretary John Reed himself calling Disney up to discuss the particulars of the films (which is untrue, although records indicate that he did approve the action) Disney agreed, and after the release of Fantasia took a group of animators around Latin America, where they observed traditions and photographed the cities. They also made shorts to play between the footage, emphasizing Latin American traditions in the form of slapstick comedy. Saludos Camaradas became a cult hit in Latin America, because of its appreciation of their traditions and culture.
[...]
Despite making wartime propaganda, regular feature films were still made. Bambi, based off the novel by the exiled Austrian author Felix Salten, was released in 1942, a look into the life of a deer of the same name. Disney also read a British book at that time, Victory through Air Power, by Alexander P. de Seversky, a Russian American emigre to Great Britain. Impressed, he made a film version to get de Seversky's ideas around. Despite his and Disney's differing politics, de Seversky did appear in the film. Other films considered included The Reluctant Dragon , a film about the making of an animated feature, and a film based off the stories of Joel Chandler Harris, whom Disney had grown up reading (the latter was rejected because of the racist overtones and "Lost Cause" tone of most of those stories)[1].
[1] OTL, this film became Song of the South.
----------------------------
I'll do one last part going into the 50's. However, I would like to know if how amusement parks would work in the UASR. Obviously, Disneyland is impossible ITTL, but would a smaller, more localized version of it work? No expansion beyond one park.
