By Chris Grover
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Additional resources for Adobe Edge Animate: The Missing Manual
1–1, Air Force Historical Research Institute, Maxwell Air Force Base, Alabama. 3. For a remarkable summary of Mitchell’s life and work, see David Jablonsky, Roots of Strategy, Vol. 4 (Mechanicsburg, PA: Stackpole Books, 1999), 409 –420. 4. For a comprehensive treatise on the decades-long ﬁght to achieve an independent United States Air Force, see DeWitt S. Copp, A Few Great Captains (McLean, VA: EPM Publications, 1989) and R. S. Government Printing Ofﬁce, 1996). 5. An early but primary example of this is assertion may be seen in William Mitchell’s 1925 book, Winged Defense, reprinted in its entirety in Jablonsky, 421–516.
Popular publications including Life, Fortune, and Popular Science Monthly ran articles on Disney’s war-related projects along with illustrations from the ﬁlms and photos of the artists at work. s and the American public about the causes and importance of the war — most notably, Frank Capra’s Why We Fight series— relied on Disney-produced animated maps and related graphics. S. 5 Once the United States entered the war, popular animated characters donned military uniforms, went through basic training, and even saw action in two dozen or so ﬁlms.
Copp, A Few Great Captains (McLean, VA: EPM Publications, 1989) and R. S. Government Printing Ofﬁce, 1996). 5. An early but primary example of this is assertion may be seen in William Mitchell’s 1925 book, Winged Defense, reprinted in its entirety in Jablonsky, 421–516. 6. Scanlan, “History of 18th AAF Base Unit (Motion Picture Unit) (Formerly Designated 1st Motion Picture Unit): A Report for Historical Division, AC/AS Intelligence, Headquarters, Army Air Forces,” 189. 7. Steven Watts, The Magic Kingdom: Walt Disney and the American Way of Life (New York: Houghton Mifﬂin, 1997), 235 –36.