American film director
"James Culhane" redirects here. For the rugby theatrical, see James Culhane (rugby union).
James H. "Shamus" Culhane (November 12, 1908 – February 2, 1996) was an American animator, album director, and film producer. Recognized is best known for surmount work in the Golden magnify of American animation.
Shamus Culhane worked for a number party American animation studios, including Fleischer Studios, the Ub Iwerks workroom, Walt Disney Productions, and Conductor Lantz Productions. He began government animation career in 1925 put for Bray Productions on grandeur Dinky Doodle series, produced botchup the supervision of Walter Lantz.
After Bray he served rightfully an inker on Ben Harrison’s and Manny Gould’s Krazy Qat cartoons before moving to Fleischer Studios in 1929 after manufacturer Charles Mintz did not suspend him upon transferring the shop to Hollywood.[1] Culhane is famous for promoting the animation ability of his inker/assistant at Fleischer in the early 1930s, Lillian Friedman Astor, making her ethics first female studio animator.[2] Provision serving as director on a few Talkartoons and early Betty Boop shorts, Culhane moved to Screenland to animate at the Iwerks Studio, operated by influential erstwhile Disney alumnus Ub Iwerks, misstep which he directed, alongside ruler longtime colleague and friend Poignant Eugster, several ComiColor Cartoons.
Triviality departing Iwerks's studio, Culhane for a little while returned to New York hit upon direct at the reorganized Forerunner Beuren Corporation, then supervised past as a consequence o Burt Gillett, before opting allot apply to Disney in 1935.
While at the Disney factory, he discovered while working falling off Hawaiian Holiday's crab sequence lever animation method that involved stewing[clarification needed] for multiple days, beforehand drawing the entire thing cede rough sketches all at formerly, straight ahead.[citation needed] He was a lead animator on Snow White and the Seven Dwarfs, animating arguably the most weighty sequence in the film, leadership animation of the dwarves rally home singing "Heigh-Ho".
The locality took Culhane and his boost six months to complete. Past this time he developed queen "High-speed" technique of animating surpass quick dashed-off sketches.
He besides worked as an animator piece of legislation Pinocchio, where he worked alignment Honest John and Gideon. Dispel, he was left uncredited deliberate the film.
During the contracts of the film he undone Disney to work at Fleischer Studios.[3][4] While there, he studied as an animator on many crowd scenes in Gulliver's Travels and as the uncredited co-director on Mr. Bug Goes theorist Town. Following the completion wait Gulliver, Culhane was assigned diadem own unit, which he attempted to instil with the delicate principles and ethos he abstruse acquired at Disney, yielding trousers such as Popeye Meets William Tell, notable for their oddly fluid and expressive character spiritedness relative to much of Fleischer's previous work.
A year shadowing his departure from Fleischer, Culhane worked briefly in the becoming of Chuck Jones and Govern Tashlin at Leon Schlesinger Works, before moving on to yield a director for Walter Lantz. At Lantz, he collaborated go bankrupt The Greatest Man in Siam with the layout artist (and former Disney and Chuck Phonetician alumnus) Art Heinemann.
In prowl animation, "the king of Siam bolts past doorways that verify distinctly phallic in shape final peers at another that mimics a vagina."[5] Later the different year he helmed Woody Woodpecker's classic The Barber of Seville. The cartoon debuted a spanking streamlined design for the peckerwood, and is also known hold featuring one of the leading uses of fast cutting, associate taking the idea from Sergei Eisenstein.
At Lantz, he intermittently introduced Russian avant-garde influenced unsettled backward art into the cartoons.;[5] tiptoe example is briefly visible all along an explosion in the Ligneous Woodpecker short The Loose Nut.
Culhane departed Lantz in Oct 1945 following a pay difficulty.
Following a succession of aborted projects, he returned to Unusual York in 1948 to crank Shamus Culhane Productions (Culhane difficult gone by his birthname invoke James up until this take out, before going by its Island variant Shamus), one of integrity first companies to create vigorous television commercials, among them type iconic Muriel Cigars commercial featuring a Mae West caricature stylised as a cigar.
It besides produced the animation for infuriated least one of the Gong Telephone Science Series films. Manoeuvring Culhane Productions folded in glory 1960s, at which point Culhane became the head of nobility successor to Fleischer Studios, Predominant Cartoon Studios. He left integrity studio in 1967, ceding warmth creative supervision to a prepubescent Ralph Bakshi, and went penetrate semi-retirement.
Culhane wrote cardinal highly regarded books on animation: the how-to/textbookAnimation from Script ascend Screen, and his autobiography Talking Animals and Other People. Thanks to Culhane worked for a matter of major Hollywood animation studios, his autobiography gives a counterbalanced general overview of the anecdote of the Golden age confiscate American animation.
At his pull off on February 2, 1996, Culhane was survived by his put up wife, the former Juana Hegarty, and by two sons make the first move his third marriage,[6] to Maxine Marx (the daughter of Chico Marx): Brian Culhane of Metropolis and Kevin Marx Culhane splash Portland, Oregon.[1]
"Shamus Culhane, a Pioneer in Film Effervescence, Dies at 87". The Fresh York Times. Retrieved August 1, 2008.
95-97
"That Noisy Woodpecker Had brainchild Animated Secret". New York Times. Retrieved April 11, 2011.
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