much about Disney features (Leonard Maltin’s The Disney Fi l m s is vital).
and Daniel Goldmark were also contributing writers to this volume. and retyped much of the manuscript and had incredible patience with me during this difficult process. Each one was a pleasure to deal with and this book would not be as good without their incredible writing and researching talents. He re’s the part where I get to mention their names and say thanks. Sharon Burion compiled many of the film credits and was a first-class research associate on this project. who were early contributors to my initial filmography. It does not include marionette and puppet films like Thunderbirds Are Go (1967).x Introduction I began collecting data on animated features while at Nick Movies and kept doing it after I left the department. A theatrical release must have played in legitimate movie theaters (college campus showings. If it was a Japanese feature released only to television. keeping close tabs of new animated films as they were released. I set up criteria for what films to include and exclude. and film festival screenings do not count) and should have some re s i dual evidence of its release: distribution accessories such as a movie trailer. T h e re are literally thousands of animated f e a t u res from all parts of the globe (though Japan certainly holds the world’s record). Doing so allowed me to add new titles as they came to light. back in the 1980s and ’90s showed many foreign-animated features. then online as part of my “Cartoon Research” Web site. I started a work-in-progress list of titles in chronological order—first on paper. from The Animatrix (2002) and Lil’ Pimp (2005) to all the Land Before Time movies and numerous Disney “sequels. or a new computer-generated image is created specially for each frame of film. or as fun without the help of my dedicated friends and enthusiastic colleagues. Competition from the 1930s through the 1980s followed Di s n e y’s superior lead. but the medium’s grow t h in quantity and quality came about only in the last 20 years. Bruno Edera’s 1976 book (Full Length Animated Feature Fi l m s) was woefully out of date. I love the fact that each film used a different technique (CGI. and using the medium in bold new ways by reinventing the tools and techniques themselves. Serious competition began to emerge in the late 1980s as a younger generation of animators broke Disney’s mold (moldy in more ways than one). respectively) and that the subject matter of each (a superhero adventure. and theatrical cartoon shorts (see Maltin’s Of Mice & Magic). an unusual event in the history of motion pictures occurred. The Lion King had just become the biggest hit in history. Nor were the dozens of animated films made specifically for home video. These movies use live-action photography of puppets. This was my first line in the sand—limit the list to U. Robot Carnival (1991) listed herein contain original animation created specifically for that film)—nor does this list include numerous foreign-animated features that have been dubbed in English and that have appeared on U. This book contains the most accurate and complete list of U. and various festivals of animation (package features such as Fantasia (1940). Fo reign titles that went direct to video—like Mi y a z a k i’s Kiki’s De l i ve ry Service (1989) or It a l y’s The Magic Voyage ( 1 9 9 2 ) — we re also excluded.