The Renaissance Age of Animation: Difference between revisions
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In 1994, the death of Disney President and Chief Operating Officer Frank Wells, and the departure of studio chairman Jeffrey Katzenberg to co-found [[DreamWorks]], left Michael Eisner in full control of the company. At the turn of the century, films such as ''[[Atlantis: The Lost Empire]]'', ''[[Treasure Planet]]'', and ''[[Home on the Range]]'' failed to meet the critical and commercial expectations set by the 1990s phenomena, in spite of exceptions such as ''[[Lilo & Stitch: The Series|Lilo & Stitch]]'' and ''[[The Emperor's New Groove]]''. At the same time, the high level of popular acclaim bestowed upon ''[[Toy Story (franchise)|Toy Story]]'', the first film animated entirely using computer-generated imagery (CGI), sparked an industry trend. Based on the commercial success of [[Pixar]]'s computer-generated animated films and other CGI fare (especially DreamWorks' ''[[Shrek]]'', which contained numerous jabs at Katzenberg's former workplace and boss), Disney came to believe that CGI was what the public wanted—so it ceased producing traditional two-dimensional animation after ''Home on the Range'', and switched exclusively to CGI starting with 2005's ''[[Chicken Little]]''.
Public rifts grew between the animation staff and management, as well as between Michael Eisner and Roy E. Disney. Roy resigned from the board of directors in 2003 with a scathing letter that called the company "rapacious and soulless", adding that he considered it to be "always looking for the quick buck."<ref name="Fonda">{{cite web|last=Fonda |first=Daren |author2=Sean Gregory |author3=Julie Rawe |author4=Jeffrey Ressner |author5= Chris Taylor |title=Eisner's Wild, Wild Ride |work=Time Magazine |date=2003-12-15 |url=http://www.time.com/time/magazine/article/0,9171,1006430-2,00.html }}</ref> He then launched the internet site SaveDisney.com<ref>{{cite web |title=Save Disney |url=http://www.savedisney.com |deadurl=
<ref>{{cite web| first = James | last = Bjorkman |url= http://animatedfilmreviews.filminspector.com/p/the-golden-age-snow-white-pinochio.html |title = Disney Animated Film Eras |accessdate=2014-08-21 |publisher = Animated Film Reviews }}</ref>
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====Direct to video sequels====
DisneyToon Studios was founded in Paris in the late 1980s to produce ''DuckTales the Movie: Treasure of the Lost Lamp'', which is not considered by the studio to be part of the Disney animated "canon".<ref>{{cite web |title=Walt Disney Animation Studios: History |publisher=Walt Disney Animation Studios |url=http://www.disneyanimation.com/aboutus/history.html |access-date=2016-10-05 |archive-url=https://web.archive.org/web/20081203140624/http://www.disneyanimation.com/aboutus/history.html |archive-date=2008-12-03 |dead-url=yes }}</ref> The practice of making non-canon direct-to-video sequels to canon films began in 1994 with ''The Return of Jafar'', a sequel to ''Aladdin''. This was a reversal of the long-standing studio policy against sequels to animated films (which did not apply to live-action films); Walt Disney has often been quoted on the subject as saying "you can't top pigs with pigs", a reference to how the ''Three Little Pigs'' short managed to get more than three sequels.<ref name="Von Busack">{{cite web|last=Von Busack |first=Richard |title=In Walt's Vaults |work=Metroactive |date=2006-05-24 |url=http://www.metroactive.com/metro/05.24.06/disneyland-0621.html}}</ref> Because of strong video sales, the studio continued to make these films in spite of negative critical reaction; 2002's ''Cinderella II: Dreams Come True'' received a rare zero-percent rating from the review-aggregating website Rotten Tomatoes.<ref>{{cite web|title=Cinderella II: Dreams Come True |work=[[Rotten Tomatoes]] |url=http://www.rottentomatoes.com/m/cinderella_ii_dreams_come_true/}}</ref>
Under John Lasseter, the studio has brought this practice to an end.<ref>{{cite web|title=Disney To Halt DVD Sequels |work=The Internet Movie Database |url=http://www.imdb.com/news/sb/2007-06-21/ |date=2007-06-21}}</ref><ref name="Fritz">{{cite web|last=Fritz |first=Ben |author2=Dade Hayes |title=Disney unveils animation slate |work=Variety |url=http://www.variety.com/article/VR1117983709.html?categoryid=13&cs=1 |date=2008-04-08}}</ref>
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Great American wanted out of the entertainment business, and Hanna-Barbera was sold to the Turner Broadcasting System in 1991. Ted Turner had expressed that he mainly wanted ownership of the studio's back catalog; its launch of [[Cartoon Network]] on October 1, 1992 provided a new audience for Hanna-Barbera cartoons, both old and new.
In 1989, producer Tom Ruegger had led an exodus of Hanna-Barbera staffers to restart Warner Bros. Animation. At first, the studio was constantly under threat of closure.<ref name="Strike 1">{{cite web |last
Time Warner acquired Turner in 1996, and thus inherited the rights to all of Hanna-Barbera's creative properties. This allowed Cartoon Network to begin airing all of the classic ''Looney Tunes'' shorts as well (previously, Turner had owned only the ''Looney Tunes'' shorts produced before August 1948, which had become part of the MGM/UA library).<ref>{{cite web|last=Balio|first=Tino|title=United Artists, Volume 2, 1951–1978: The Company That Changed the Film Industry, Volume 2
|publisher=Univ of Wisconsin Press|isbn=0299230139|page=106}}</ref> Cartoon Network's success with original programming lead them to move the reruns of old Hanna-Barbera and ''Looney Tunes'' cartoons to their spin-off channel Boomerang.
In 1997, Fred Seibert left Hanna-Barbera to found [[Frederator Studios|his own studio]].<ref name
===Nickelodeon===
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