Home on the Range (Will Finn and John Sanford, 2004) concluded what had been, for Disney, a stylistically progressive sequence of theatrically released features defined in this article as the Neo-Disney period that broke with the hyperrealist conventions most commonly associated
with the studio's output. It is this critically neglected sequence of films, comprising Fantasia 2000 (James Algar et al., 1999), The Emperor's New Groove (Mark Dindal, 2000), Atlantis: The Lost Empire (Gary Trousdale and Kirk Wise, 2001), Lilo and Stitch (Dean
DeBlois and Chris Sanders, 2002), Treasure Planet (Ron Clements and John Musker, 2002), Brother Bear (Aaron Blaise and Robert Walker, 2003) and Home on the Range, which provide the focus of this article. By analysing the artistic and narratological composition of these
films, this article seeks to demonstrate that the studio's feature animation is more heterogeneous and progressive than received notions of Disney allow for.
The journal aims to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.