By J P. Telotte
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Extra resources for The Mouse Machine: Disney and Technology
Sample text
107), and both Disneys agreed that sound could prove a valuable addition to their films. 2 Having established a crude but workable procedure for simply adding a sound increment to their films, Walt then set off for New York, where he hoped to arrange for sound accompaniment for their latest effort, Steamboat Willie. Along the way, he stopped in Kansas City to contract with old friend Carl Stalling to compose a simple score for the film. The next step was to decide which of the competing sound technologies to employ—a decision that largely depended on which of the new technologies the small company could afford.
As one example, they note how multiple-channel recording might allow a “point-source of sound” to stand out while surrounding sounds could be muted. . can be highly dramatic and desirable” (127, 128). Both those “highly dramatic” (or fantastic) effects and a desire for greater aural fidelity (or realism) would come into play in creating a Sound Fantasy 37 film that, as Steven Watts offers, “took both the realistic naturalism and the fluid fantasy of the Disney style to new levels” (115). While in some ways little more than an experiment, the Fantasia initiative obviously grew out of the earlier short cartoons, which were marked, as we have seen, by their own amalgam of real and fantastic sounds.
To pursue the advantages offered by any new technological development, we also have to accept the fact that problems will accompany it; as Virilio puts it, we must expose ourselves to a potential “symmetry between substance and accident” (54). To an extent, he is reformulating an idea that has received increasing notice in our technological culture, that every technical leap involves dangers or trade-offs. Edward Tenner, for example, makes a similar point, as he describes how our technological developments invariably seem to “bite back,” confronting us with “the ironic unintended consequences” of our own ingenuity (6).