The story of Disney Studios is a central strand in Mitenbuler’s narrative Disney became the formidable force that the other animation studios would look toward, compete with and rail against.
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To work on the project, Disney had tapped the conductor Leopold Stokowski, who was so proudly pretentious that the studio’s cartoonists wanted to call the movie “Highbrowski by Stokowski.” (This happened to mirror the self-image of the country at large, which assiduously coupled its impending dominance on the world stage with repeated avowals of benign intentions.) According to “Wild Minds,” Reid Mitenbuler’s lively history of the first half-century of animation, “Fantasia” marked a turning point in American culture, an attempt to reconcile the refinement of artistic ambition with the demands of mass consumption. The combination perfectly encapsulated what Disney Studios was becoming: a determined wielder of awesome power, leavened by Disney’s assurances that he was a really nice guy. Everything was set to classical music and blasted over the new Fantasound system, whose volume could apparently reach 165 decibels - enough, The New Yorker reported at the time, to “kill many elderly members of the audience, knock the others cold and deafen the survivors for life.” The magazine continued: “Don’t worry about it, though. Images in the movie channeled evolutionary theory and abstract art, depicting roaring dinosaurs, vibrating shapes and dancing brooms. 13, 1940, what had started out as an animated short to revive Mickey Mouse’s flagging career had become a feature-length extravaganza. By the time Walt Disney’s “Fantasia” premiered at Manhattan’s Broadway Theater on Nov.
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