The British animation industry was pulled back from the brink by subsidies, but now it faces a far bigger and more insurmountable challenge: Brexit.
To get it out of the way right off the bat, I think YouTube is ultimately done for, at least in its current form. The massive scale and complexity of the service don’t bode well for it in the long-term. At least Netflix has narrowed its focus to a fairly small number of high-quality productions, and building a reliable distribution service. YouTube is like a blunderbuss; spewing content in every direction in the hope of hitting the mark. It’s worked so far, but it isn’t going to work forever.
People have been clamouring for a Disney princess that embodies LGBT traits for some time, but the latest #GiveElsaAGirlfriend campaign is misdirected, misguided and will ultimately fail to accomplish the very outcome it desires. Why is this so, and why do fans tend to believe otherwise? The answer is troubling and undermines all efforts aimed at increasing representation in the media.
Passive storytelling has been around since the dawn of time. It will likely continue to exist until the end of time too, as humans have exhibited the trait across generations and cultures without fail. Storytelling exists today in many forms, and it is in that sense that modern passive storytelling (where the audience merely listens or watches) may be reaching the end of its long dominance of the entertainment business.
What if an animated feature film was released in parts on a weekly basis? What are the benefits to this strategy?
For all the awesome and inspirational animation on the internet, why does it remain there and how come we don’t see its influence on TV or movies?
With the success of Despicable Me 2, we are unlikely to see a slowdown in the number of animated sequels heading out way.
The marketing campaign for Monsters University was undoubtedly novel and innovative but would the film have been as successful without it?