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The early pioneers (Walt Disney and Max Fleischer in particular) found ways to make their characters something more than just drawings on a screen--to make them seem to exist in a world of gravity and dimension. They experimented endlessly with how an animated character should move, finding a new kind of stylized realism that carried conviction without mirroring the real world. The animation expert Ernest Rister writes: 'I wonder if they knew that finding a technique for investing a drawing with a sense of weight and volume would someday be used to create killer bugs or a giant snake in the Amazon.'

(sleeping beauty short story – pinocchio story – geppetto pinocchio) Once upon a time there was a man named Geppetto who made beautiful wooden dolls. He lived alone and his dream was to have a son with whom to share all his love and affection. Pinocchio Story. One day, Geppetto made a little boy of wood.

After the breakthrough of 'Snow White,' the Disney animators went back to their storyboards with a couple of innovations up their sleeves. One was the freedom to imply that there was space outside the screen. In 'regular' movies, characters were half-seen at the edges, they entered and exited, and the camera panned and zoomed through additional space. Early animation tended to stay within the frame. In 'Fantasia' and especially 'Pinocchio,' Disney broke out of the frame, for example in the exciting sequence where Pinocchio and his father are expelled by the whale's sneeze, then drawn back again, then expelled again. There is the palpable sense of Monstro the Whale, offscreen to the right.

Another innovation was the 'multiplane camera,' a Disney invention that allowed drawings in three dimensions; the camera seemed to pass through foreground drawings on its way deeper into the frame. There is an aerial shot of Pinocchio's village in which the camera zooms past levels of drawings, until it arrives at a closeup. This was much better than using only simple perspective to show depth.

These innovations were not much noticed by 'Pinocchio's' audiences: They were drawn in by the power of the narrative. The story of the little puppet and his quest to become a real boy is a triumph of storytelling with a moral. Has popular culture ever produced a more unforgettable parable about the dangers of telling a lie? The story is just plain wonderful. It contains elements that would be refined into the Disney formula (Figaro the cat and Cleo the goldfish would be recycled into countless comic relief sidekicks), but its main story line is designed with almost diabolical cunning to reach children.