Era-to-Era Animation Quiz

[B] Waltz With Bashir | Rotoscoped war memoir by Ari Folman; dream fragments, yellow haze, and a remembered massacre. Documentary animation that feels like memory misfiring until the truth surfaces.

[D] Snow White and the Seven Dwarfs | Disney's first feature-length animated feature; multiplane depth, hand-inked charms, and industrious whistling. Apples never looked more ominous against storybook forests and cottage light.

[A] Watership Down | British rabbits plus political allegory. The ballad "Bright Eyes" softened shocks. Watercolor fields hide brutal survival math, which is why UK viewers remember it so vividly.

[C] WALL-E | Nearly wordless opening, Chaplin DNA, Hello, Dolly! needle drops, and a lonely compactor finding a plant. Pixar smuggled eco-critique inside a robot meet-cute for the ages.

[A] The Secret of NIMH | Don Bluth's velvet shadows, a glowing amulet, and literate rats who fled lab tests. A gravel-voiced owl proved darkness can look gorgeous in family animation.

[D] The Jungle Book | Shere Khan's menace, Baloo's groove. Walt's last personally overseen feature; xeroxed foliage kept costs workable while jazz swung Kipling into hammock-time philosophy.

[B] Spirited Away | Bathhouse tokens, soot sprites, porcine parents. Miyazaki developed scenes without a fixed script; that floodlit train glide remains animation's calmest, strangest commute.

[C] Up | Eight-minute life montage crushed hearts. Carl's house becomes balloon-borne grief therapy; Kevin and Dug lighten the load. Pixar threads slapstick through adult melancholy cleanly.

[A] The Lion King | Shakespeare by savanna. Elton John hooks, Hans Zimmer swells, and that sunrise circle shot borrowed real plateau panoramas. Hyenas still cackle with razor precision.

[D] Wallace & Gromit in The Curse of the Were-Rabbit | Aardman's plasticine squash-and-stretch, Wallace gadgets, and a veg-obsessed lycanthrope. Fingerprints literally linger on props; timing lands because imperfection reads charming and human.

[C] The Land Before Time | Bluth's dinos after the Great Earthshake; Spielberg and Lucas produced. Littlefoot's leaf turned playground shorthand for hope, teamwork, and stubborn leadership on tiny legs.

[A] Monsters, Inc. | Door warehouses as infinite stage. Boo's giggles spark a clean-energy pivot. The yeti's snow cones? Lemon-flavored. Corporate scare metrics never looked so weirdly sweet.

[B] My Neighbour Totoro | Camphor tree shade, Catbus grin, rain pinging umbrellas. Totoro also became Ghibli's logo, meaning the studio's mascot is canonically an enormous forest spirit.

[D] Persepolis | Marjane Satrapi's memoir in stark black-and-white; punk mixes with exile and grandma's sharp counsel. Animation keeps political memory intimate rather than museum solemn.

[C] 9 | Shane Acker's stitched survivors face soul-sucking machines. Tim Burton backed it. Scavenged optics and clockwork relics build a scrapyard cathedral across the ruins.

[A] The Nightmare Before Christmas | Elfman sings Jack's yearning; dental-click percussion rattles bones. Thousands of micro-pose adjustments per second turn holiday mash-up into tactile, handmade gothic cheer.

[B] Princess Mononoke | Shinto spirits, wolves, and ironworks negotiating industry's bite. Miyazaki refuses pure villains; boar gods rampage while humans still earn empathy. Ecological rage with nuance.

[C] Yellow Submarine | Beatles psychedelia without their voices. Blue Meanies, Peter Max—ish geometry, and a literal sea of holes. Poster-art pop that drifted into an actual movie.

[D] All Dogs Go to Heaven | Gambling mutt meets halo bureaucracy. Bluth's airbrushed glow screams matinee '89, while jazz numbers loosen the leash on morality and crank the charm.

[B] Ice Age | Scrat's acorn physics steal focus. Blue glacial lighting, misfit herd road-trip, and surprisingly soft lullabies prove extinction humor can carry a family film.

[A] South Park: Bigger Longer & Uncut | Shock musical with precision harmonies; "Blame Canada" grabbed an Oscar nod. Construction‑paper look supercharges satire once modulations and key changes kick the door in.

[C] Bolt | TV hero dog thinks powers are real until New York negotiates otherwise. Pre-Rapunzel Disney CG; pigeons riff like locals and Rhino the hamster rewrites scenes.

[D] Fantasia | Stokowski meets Mickey. Abstract Bach, hippos in tutus, animated sound waves. Roadshow gamble flopped then turned art-house scripture; multichannel Fantasound previewed surround.

[B] The Iron Giant | Brad Bird's "Superman" line still levels audiences. 1957 paranoia, painterly skies, beatnik Dean, and a robot who picks pacifism over programming at the brink.

[A] Coraline | Laika's needle-felt textures and button-eyed Other Mother. Hand-knit tiny sweaters and stitched credits prove how analog stop-motion stays, even when the story bites.