Tron

In the late-’70/early-’80s, Disney was attempting to reposition itself in a niche away from the traditional family product that they were known for, moving instead towards darker-tinged science fiction and fantasy. This was partly in response to the success of Star Wars in 1977, as is apparent with the generally goofy (but at times surprisingly sinister) Disney live-action feature The Black Hole, released only two years later.

So when a young, independent animator called Steven Lisberger approached the company, looking for someone to finance an experimental science fiction film about video games, it seemed like the perfect fit. This was the era of Pac-Man, Donkey Kong and Frogger, when home computing was beginning to make inroads and the potential of all things digital seemed limitless: the so-called “silicon revolution” had just arrived. What better way for Disney to remain relevant than to release a film that capitalised on such a current trend?

That film, of course, was Tron (1982). Combining back-lit animation, traditional animation and computer-generated imagery with live-action footage, this was Star Wars for the impending Information Age. Its setting was stark yet elegant and often beautiful; its themes struck at the heart of the increasing commercialisation of a market hitherto dominated by hobbyists and academics. In short, it was the mythology for a new age.