The history of animation began long before the development of cinematography. Humans may have tried to describe the movement as far as the paleolithic period. Play shadows and magical lanterns offer popular shows with projected images on the mobile screen as a result of hand manipulation and/or some small mechanics. In 1833, fenakistiscope introduced the principle of modern stroboscopic animation, and will also provide the basis for cinematography.
Video History of animation
The initial approach to motion in art
There are some examples of early sequential images that may look similar to a series of animated images. Most of these examples will only allow very low frame rates when they are animated, resulting in short and rough animations that are not very lively. However, it is highly unlikely that these images are meant to be viewed as animations. It is possible to envision technologies that can be used in their period of creation, but there is no conclusive evidence in the artifacts or descriptions found. It is sometimes argued that these early sequential images are too easily interpreted as "pre-cinema" by the minds accustomed to films, comic books and other modern sequential images, while it is uncertain that the creators of these images imagine something like that. The idea of ​​a sample that is smaller than one second needed to break the action into a phase sufficient for smooth animation will not really develop before the 19th century.
Early examples of attempts to capture the phenomenon of movement into still images can be found in paleolithic cave paintings, where animals are often depicted with several feet in a superimposed position. It has been claimed that these superimposed figures are intended for an animation form with flashing light from a flame or a passing torch illuminating different parts of the painted stone wall, revealing different parts of the movement.
Archaeological findings of small paleolithic disks with holes in the middle and images on both sides have been claimed as a kind of prehistoric thaumatrop which shows movement when spinning on a rope.
A 5,200-year-old pottery pot found in Shahr-e Sukhteh, Iran has five consecutive images painted around it that seem to indicate the phases of a goat leaping up to bite the tree.
An Egyptian mural of about 4000 years, found in Khnumhotep's grave at the Beni Hassan cemetery, displays a series of very long images that seem to describe the sequence of events in a wrestling match.
The Roman poet and philosopher Lucretius (about 99 BC - about 55 BC) writes in his poem De rerum natura a few lines that approximate the basic principle of animation: "... when the first image perishes and the second is then produced in position others, the first seems to have changed the pose. Of course this must be considered to be going very quickly: so great the speed, so great the storage of particles in every moment of sensation, to allow the supply to emerge. "It should be noted that this is in the context of dream images, generated by actual or imagined technology.
The medieval codex Sigenot (about 1470) has sequential illumination with relatively short intervals between different phases of action. Each page has an image inside the frame above the text, with great consistency in size and position throughout the book (with a consistent difference in size for rekto and side verso of each page).
Seven images by Leonardo da Vinci (c 1510) extend over two folios in the Windsor Collection, Anatomical Studies of Neck, Shoulder, Chest, and Arm Muscles, have a detailed rendering of the upper body and facial features less detail. This sequence shows some angles of the image as it rotates and the arm is elongated. Since images show only small changes from one image to the next, together they imply a one-digit movement.
The ancient Chinese records contain several mention of the device, including those made by inventor Ding Huan, who is said to "give the impression of movement" to a series of human or animal figures on them, but this report is unclear and probably refers only to the actual movement of the numbers through space.
Since before 1000 AD, the Chinese have a spinning lantern that has a silhouette projected on its thinly sideward edges. This is called "horse running light" [???] as it usually describes horses and horsemen. The cut silhouette attached inside the lantern to the shaft with the impeller of the paper vane above, rotated by the hot air rising from the lamp. Some versions add extra movement with the jointed head, legs or hands of figures triggered by transversely connected iron wires.
Volvelles have moving parts, but these and other paper materials that can be manipulated into motion are not usually considered animations.
Maps History of animation
Shadow game
Play shadows have a lot in common with animations: people watching a figure move on the screen as a very popular form of entertainment, usually stories with dialogue, sound, and music. The numbers can be very detailed and highly articulated.
The earliest image projection is most likely done in primitive shadows derived from prehistoric times. It evolved into finer forms of shadow puppets, mostly with flat-jointed cut-out figures held between a light source and a translucent screen. Shape dolls sometimes include transparent colors or other types of detail. The history of the wayang is unclear, but seems to have originated in Asia, perhaps in the first millennium BC. A clearer note seems to go back to about 900 CE. It then spread to the Ottoman Empire and did not seem to reach Europe before the 17th century. It became very popular in France at the end of the 18th century. FranÃÆ'§ois Dominique SÃ © Ã © raphin started his elaborate shadow show in 1771 and performed it until his death in 1800. The heir went on until their theater closed in 1870. SÃÆ' Â © raphin developed the use of clock mechanisms to automate the show.
Around the time the cinematography was developed, several theaters in Montmartre showed a very successful "Ombres Chinoises" show. The famous Le Chat noir produced 45 different shows between 1885 and 1896.
The Magic Lantern
The moving image may be projected with a magic lantern since its invention by Christiaan Huygens in 1659. The sketch for a magical lantern slide has been dated that year and is the oldest known document concerning the magic lantern. A circled sketch depicts Death raising his arm from his toes to his head, others showing him moving his right arm up and down from his elbow and another taking his skull from his neck and placing it back. The dashed line indicates the intended movement.
Techniques for adding movement to painted glass slides for magic lanterns are described since about 1700. The parts that are normally involved (eg limbs) are painted on one or more pieces of hand-actuated glass or a small mechanism across a stationary slide showing the rest of the image. Popular subjects for mechanical slide include a rotating windmill display, a numerical procession, a drinking man lowering and lifting his glass to his mouth, head with moving eyes, a very long growing nose, a rat jumping in a man's sleeping mouth. A more elaborate rack arrangement in the 19th century showed eight known planets and their satellites orbiting around the sun. Two layers of waves painted on the glass can create a convincing illusion from the calm ocean that turns into a very stormy sea that hurls several boats by increasing the speed of manipulation of different parts.
In 1770 EdmÃÆ'Â © -Gilles Guyot detailed how to project a magical lantern image on smoke to create a shadow of a ghost that hovered and glittered. This technique was used in the phantasmagoria show which became very popular in parts of Europe between the 1790s and 1830s. Another technique was developed to produce a convincing ghost experience. The lantern is held to move the projection on the screen (which is usually the almost invisible transparent screen behind a lantern operated hidden in the dark). Ghosts can seem to approach the audience or grow larger by moving the lantern away from the screen, sometimes with lanterns on the trolley on the tracks. Some lanterns make ghosts move independently and are sometimes used for superimpositions in complex scene compositions.
The dissolved view became a popular magical lantern show, especially in Britain in the 1830s and 1840s. This usually has a landscape that changes from winter versions to spring or summer variations by slowly reducing the light from one version while introducing projection that is aligned with the other slides. Other uses show gradual changes from the garden for example to the cathedral.
Between the 1840s and 1870s some of the effects of abstract magic lanterns were developed. These include chromatropes that project spectacular colorful geometric patterns by rotating two glass discs painted in opposite directions.
Sometimes small leather puppets have been used in fantasmagoria shows. The magical lantern slide with jointed figures driven by levers, thin trunks, or cams and worm wheels was also commercially produced and patented in 1891. The popular version of "Fantoccini slides" has a monkey that rolls over with arms attached to the mechanisms that make it fall with legs hanging. Fantoccini Slide is named after the Italian word for dolls like marionettes or jumping jacks.
Animation before movie
Many devices that successfully display animated images were introduced long before the advent of the movie. This device is used to entertain, amaze, and sometimes even frighten people. The majority of these devices do not project their images, and can only be seen by one or several people at a time. They are considered optical toys rather than devices for the large-scale entertainment industry such as later animations. Many of these devices are still built by and for film students learning the basic principles of animation.
Prelude
An article in the Journal of Science, Literature, and The Arts every quarter (1821) raised some optical illusion interests from the curved radius of the spinning wheel visible through the vertical hole. In 1824 Peter Mark Roget gave mathematical details about the curvature that arose and added the observation that the fingers seemed immobile. Roget claims that the illusion is due to the fact "that the impression made by pencil rays on the retina, if clear enough, will remain for a certain time after the cause has stopped." This is then seen as the basis for the theory of "persistence of vision" as the principle of how we view film as motion rather than the flow of still images that is actually presented to the eye. This theory has been discarded as the (only) principle of effect since 1912, but it remains in many explanations of film history. However, Roget's experiments and explanations did inspire some further research by Michael Faraday and also by Joseph Plateau which would ultimately result in the discovery of animation.
Thaumatrope (1825)
In April 1825 the first Thaumatrope was published by W. Phillips (in anonymous association with John Ayrton Paris) and became a very popular toy. The images on both sides of the small cardboard disc appear together into one composite image when rotated quickly by the attached string. It is often used as an illustration of what is often called "persistence of vision" (scientifically better known as positive afterimages). Although thaumatrope can also be used for two-phase animation, no known instances have been produced with this effect until long after the phrase nakisticope has established the principle of animation.
PhÃÆ' Â © nakisticope (1833)
Fenakistiscope or fantascope is the first animation tool to use rapid sequential sequential images. The images are evenly spaced radially around the disc, with a small rectangular hole on the edge of the disc. Animation can be seen through the slit disk that spins in front of the mirror. It was discovered in November or December 1832 by the Belgian Joseph Highlands and almost simultaneously by Simon von Stampfer of Austria. Plateau was first published on its discovery in January 1833. This publication includes an illustration plate of a fantascope with 16 frames depicting a pirouetting dancer.
The phÃÆ' Â © nakisticopees is very successful as a new toy and within a year there are so many sets of stroboscopic discs published throughout Europe, with almost the same name for the device - including Fantascope (Plateau), The Stroboscope (Stampfer) and PhÃÆ' Â © nakisticope (Paris Giroux & Cie Publisher).
Zoetrope (1866)
In July 1833 Simon Stampfer described the possibility of using the principle of stroboscope in a cylinder (as well as on a looped strip) in a pamphlet accompanying a second edition of the phÃÆ'n © nakisticope. British mathematician William George Horner suggested cylindrical variations of the Plateau phÃÆ'n © nakisticope in January 1834. Horner planned to publish this DÃÆ'Â|daleum with King's optician Jr. in Bristol but "met with some possible obstacles in sketch of the numbers ".
In 1865 William Ensign Lincoln discovered a definitive zoetrop with an easily replaceable image strip. It also has a pictorial paper disk on the base, which is not always exploited on commercially produced versions. Lincoln licensed his findings to Milton Bradley and Co. who first advertised it on December 15, 1866.
Flip book (1868)
John Barnes Linnett patented the first flip book in 1868 as a kineograph . The flip book is a booklet with a relatively chewy page, each one having a series of animated images located near an unbound edge. Users bend all back pages, usually with thumbs, then with hand gestures gradually allowing them to jump freely one by one. Like phenakistoscopes, zoetropes and praxinoscopes, the illusion of motion is created by the sudden replacement of each abrupt image in the next series, but unlike other discoveries, there is no shutter-view shutdown or mounting of the necessary mirrors and no display device besides the user's hand is absolutely necessary. The early film animators called flip books as their inspiration more often than previous devices, which did not reach a wide audience.
Older devices by nature severely limit the number of images that can be entered in sequence without making very large devices or small impractical images. The book format still imposes a physical limit, but many dozens of images of sufficient size can be easily accommodated. The inventor stretches even that boundary with a mutoscope, patented in 1894 and sometimes still found in arcades of entertainment. It consists of a large circular folding book tied to the housing, with a viewing lens and a crank handle that drives a mechanism that slowly rotates the assembly of the image over a catch, the size to match the running time of the entire film roll.
Praxinoscope (1877)
The French inventor Charles-ÃÆ'â € ° mile Reynaud developed the Praxinoscope in 1876 and patented it in 1877. It is similar to a zoetrope but instead of a gap in the cylinder it has twelve rectangular mirrors that are positioned evenly around the center of the cylinder. Each mirror reflects another image of the image strip placed opposite on the inner wall of the cylinder. When rotating the praxinoscope shows successive images one by one, resulting in smooth animation. Pretxinoscope allows a much clearer view of moving images compared to zoetrope, since the actual zoetrope image is largely obscured by the space between its cracks. In 1879 Reynaude registered a modification to the praxinoscope patent to include Praxinoscope ThÃÆ' Â Â ¢ tre , which utilized the Pepper ghost effect to present animated figures in exchangeable backgrounds. Further improvements include "Praxoscopeoscope ÃÆ' projection" (marketed since 1882) using a double magic lantern to project the animated figures above up to the background projection.
Zoopraxiscope (1879)
Eadweard Muybridge has about 70 of his famous chronophotographic sequences painted on glass discs for the zoopraxiscope projector he used in his popular lecture between 1880 and 1895. In the 1880s the pictures were painted onto glass in dark contours. Then the discs made between 1892 and 1894 had a line drawn by Erwin F. Faber that was photographed on the disk and then colored by hand, but this may never be used in the lecture. Most painted figures are diverted from photographs, but many fantastic combinations are made and sometimes imaginary elements are added.
1888-1908: The earliest animation on the movie
ThÃÆ' Â © ÃÆ' Â ¢ tre Optique
Charles-ÃÆ'â € ° mile Reynaud further develops his prinoxic projection into the ThÃÆ'  © ÃÆ'  ¢ tre Optique with colorful drawings hand-painted transparently in a long perforated hollow wound between two scrolls, patented in December 1888. From 28 October 1892 to March 1900 Reynaud gave over 12,800 performances to a total of over 500,000 visitors at MusÃÆ' © e Grà © à © vin in Paris. Her own Pantomimes Lumineuses movie series contains 300 to 700 frames that are manipulated back and forth up to 10 to 15 minutes per movie. Background scenes are projected separately. Piano music, songs and some dialogue are done directly, while some sound effects are synchronized with the electromagnet. The first program included three cartoons: Pauvre Pierrot (created in 1891), Un bon bock (created in 1888, now gone), and Le Clown et ses chiens (created in 1890, is now gone). Then in the title Autour d'une cabine (made in 1893) and A rÃÆ'ªve au coin du feu will be part of the show.
Standard image movie
Despite the success of Reynaud's films, it took some time before the animation was adapted in the film industry that emerged after the introduction of Cinematograph Lumiere in 1895. The early fantasy films and tricks Georges MÃÆ'Ã… © liÃÆ'¨s (released between 1896 and 1913) are sometimes close to animations included with splice substitution effects, painted props or painted creatures moving in front of a painted background and coloring the film by hand. MÃÆ'Â Â © liÃÆ'¨s also popularized the stop trick, with one change made to the scene between shots, which had been used in Edison's Mary Stuart Execution in 1895 and possibly led to the development of several stop-motion animations then. It seems to have lasted until 1906 before the right animated films began appearing in theaters. The dating of previous films with animation is contradicted, while other films that may have used stop motion or other animation techniques are lost and can not be checked.
Print animation film
In 1897, German toy manufacturer, GebrÃÆ'¼der Bing had their first Kinematograph prototype. In November 1898 they presented this toy film projector, probably the first of its kind, at a toy festival in Leipzig. Soon other toy manufacturers, including Ernst Plank and Georges Carette, sell similar devices. Around the same time the French company Lapierre marketed a similar projector. The cinematographer of the toy is essentially a magic lantern with one or two small coils that use the standard 35mm "Edison perforation" film. This projector is aimed at this type of "home entertainment" toy market that most of these manufacturers already provide magical toys and magic lanterns. In addition to the relatively expensive live-action films, manufacturers produce many cheaper films by printing lithographic images. This animation may be made in black and white from about 1898 or 1899, but at the latest in 1902 the color was made in color. The photos are often searched from direct action films (like the later rotoscoping technique). These very short films represent simple repetitive actions and are created to be projected as circles - playing endlessly with the end of the film put together. The lithographic process and the loop format follow the traditions defined by zoetrop and praxinoscope.
Katsud? Shashin, from an unknown creator, was discovered in 2005 and speculated to be the oldest animated work in Japan, with Natsuki Matsumoto, an iconography specialist at Osaka University of Arts and animated historian Nobuyuki Tsugata who determines the most likely film created between 1907 and 1911. The film consists of a series of cartoon images on fifty celluloid strip frames and lasts for three seconds at sixteen frames per second. It describes a boy in the sailor's outfit who writes the kanji " ???? " ( katsud? Shashin , or "moving picture"), then turn towards the viewer, remove his hat, and offer the salute. The evidence suggests it was mass produced for sale to the owner of a rich home projector. For Matsumoto, low-quality, low-tech printing techniques suggest it may come from smaller film companies. J. Stuart Blackton
J. Stuart Blackton is an Anglo-American filmmaker, founder of Vitagraph Studios and one of the first to use animations in his films. The Enchanted Drawing (1900) is considered the first film recorded on a standard image film that includes some sequences that are sometimes considered animated. This shows Blackton doing some "quick sketches" of faces, cigars, bottles of wine and glasses. The face changed expression as Blackton poured wine into the mouth of his face and took his cigar. The technique used in this film is basically a splice substitution: a single change to the scene is that the image is replaced by the same image with different facial expressions (or the bottle being drawn and the glass is replaced by the real object). Blackton may have used the same technique in the missing 1896 sketch film. The effect can hardly be considered animated. The 1906 Blackton Movie The Cute Humorous Face Phase is often regarded as the oldest known drawing animation known in standard films. It features a sequence created with a whiteboard image that is changed between frames to show two expressions changing faces and some smoke cigar smoke, as well as two sequences featuring cut animations. Blackton's The Haunted Hotel (1907) features a live-action combination with special practical effects and animated stop-motion objects, dolls and haunted hotel models. It was the first stop-motion film to receive wide-scale appreciation. Especially the large close-up view of a table set by the audience itself is confusing; no visible cables or other famous tricks. It inspired other filmmakers, including French animators ÃÆ' â € ° mile Cohl and Segundo de ChomÃÆ'³n, to work with the new technique. De ChomÃÆ'³n will be releasing a similar The House of Ghosts and El hotel elà © ctrico in 1908.
Edwin S. Porter
In 1905, American film pioneer Edwin S. Porter used the animated letters and a very simple cut animation of two hands in the text in How Jones lost his scroll . He experimented with a bit of raw stop-motion animation in his deceptive film Dream of a Rarebit Fiend (1906). The movie 1907 The "Teddy" Bears mainly shows people in bear costumes, but also features a short-motion segment with a small teddy bear.
Segundo de ChomÃÆ'³n
Spanish filmmaker Segundo de ChomÃÆ'³n makes a lot of fake films and is often compared to Georges MÃÆ'Â © liÃÆ'¨s. De ChomÃÆ'³n often uses stop-motion in his films, even before the release of J. Stuart Blackton's The Haunted Hotel . Le thÃÆ' Â © ÃÆ' Â ¢ tre de Bob (1906) featured more than three minutes of stop-motion animation with dolls and several objects. El hotel elÃÆ' Â © ctrico (1908) displays many stops motion with the object, a bit of pixilation and one effect is done with the drawn animtion (some lines may be depicted in the negative symbolizing the electric spark).
Arthur Melbourne-Cooper
Arthur Melbourne-Cooper is a British filmmaker who performs many pioneering works in stop motion animation. He produced over 300 films between 1896 and 1915, which were estimated to be 36 all or part animated.
Based on a later report by Cooper and by his daughter Audrey Wadowska, some believe that Matches: Appeal was produced in 1899 and is therefore the first stop-motion animation. The black-and-white film shows the figure of a matchstick writing a plea to donate a Guinea that Bryant and May will supply the army with an adequate match. No archive file exists showing that the film was indeed made in 1899 during the start of the Second Boer War. Others placed it in 1914, during the beginning of World War I. Cooper created more Animated Matches scenes in the same setting. It is also believed to have been produced in 1899, while the release date of 1908 has also been awarded. There is also an Animated Matches movie by ÃÆ'â € mile Cohl released by Gaumont in 1908, which may have caused more confusion about the release date of the Cooper matchstick.
Dolly's Toys lost (1901) and The Enchanted Toymaker (1904) may have included stop-motion animation. Dreams of Toyland (1908) featured scenes with lots of animated toys that lasted about three and a half minutes.
Traditional animation
Silent Era
French artist ÃÆ'â € ° mile Cohl created the first animated film using what came to be known as the traditional animation method: 1908 Fantasmagorie . The film consists mostly of moving stick figures and facing all sorts of morphing objects, like wine bottles that turn into flowers. There is also a part of the direct action in which the animator's hand will enter the scene. The film is created by drawing each frame on paper and then shooting each frame into a negative film, which gives a whiteboard image. Cohl then went to Fort Lee, New Jersey near New York City in 1912, where he worked for French studio ÃÆ'â € clair and spread his animation techniques to the US.
Influenced by ÃÆ'â € ° mile Cohl, author of the first puppet-animated film (ie, The Beautiful Lukanida (1912)), Russian-born director (Polish ethnicist) Wladyslaw Starewicz, known as Ladislas Starevich, began making motion motion stops using dead insects with wire feet and then, in France, with a complex doll and really expressive. In 1912, he created The Cameraman's Revenge, an intricate story of betrayal and violence among several different insects. This is the work of animated puppet pioneer, and the oldest animated film of such dramatic complexity, with characters full of motivation, desire, and feeling.
More detailed hand-drawing images with detailed backgrounds and characters are animated by Winsor McCay, a successful newspaper cartoonist, including 1911 Little Nemo , 1914 Gertie the Dinosaur , and 1918 Sinking of Lusitania . Gertie the Dinosaur shows an early example of character development in a drawing animation. The film is made for vaudeville McCay's action and when played McCay will talk to Gertie who will respond with a series of moves. There was a scene at the end of the movie where McCay walked behind the projection screen and his gaze appeared on the screen showing him up onto the back of the cartoon dinosaur and out of the frame. This scene made Gertie the Dinosaur the first film to combine live-action footage with hand-drawn animations. McCay drew nearly every one of the 10,000 pictures he used for the film.
Also in 1914, John Bray opened John Bray Studios, which revolutionized the way animations were made. Earl Hurd, one of Bray's employees patented the cel technique. This involves turning a moving object on a transparent celluloid sheet. The animator shoots a sheet over a stationary background image to produce a sequence of images. This, as well as the innovative use of innovative assembly line methods, allowed John Bray Studios to create Coleel Heeza Wild, the first animated series.
During the 1910s, the production of animated short films, commonly referred to as "cartoons", became an industry of its own and cartoon shorts were produced to be screened in theaters. The most successful producer at the time was John Randolph Bray, who, along with animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the decade.
In 1915, Max and Dave Fleischer discovered rotoscoping, the process of using the film as a reference point for their animation and studio then releasing animated classics such as Ko-Ko the Clown, Betty Boop , Popeye the Sailor Man , and Superman . In 1918 McCay released The Sinking of the Lusitania, a wartime propaganda film. McCay does use some newer animation techniques, such as cels over painting - but because he does all his own animations, the project was not actually released until just before the end of the war. At this point large-scale animation studios became the norm of industry and artists like McCay faded from the public eye.
The first known animated feature film is El ApÃÆ'³stol , created in 1917 by Quirino Cristiani from Argentina. He also directs two other animated feature films, including 1931's PeludÃÆ'³polis , the first feature-length animation that uses synchronized sound. However, no one survived.
In 1920, Otto Messmer of Pat Sullivan Studios created Felix the Cat. Pat Sullivan, head of studio took all the credit to Felix, a common practice in the early days of studio animation. Felix the Cat is distributed by Paramount Studios, and it attracts a lot of viewers. Felix is ​​the first cartoon on display. He soon became a household name.
In Germany, during the 1920s an abstract animation was created by Walter Ruttman, Hans Richter, and Oskar Fischinger, however, the Nazi censorship of so-called "degenerative art" prevented abstract animation from developing after 1933.
The earliest surviving animated film is the 1926 animated silhouette of Prince Achmed's Adventures, which uses colorful films. The show was directed by Lotte Reiniger of Germany and Berthold Bartosch of France/Hungary.
Walt Disney & amp; Walt Disney's Walt Disney & amp; Walt Disney Walt Disney & amp; Walt Disney. Warner Bros.
In 1923, a studio called Laugh-O-Grams went bankrupt and its owner, Walt Disney, opened a new studio in Los Angeles. Disney's first project is the Alice Comedies series, featuring a live action girl interacting with many cartoon characters. Disney's first break was in 1928 Steamboat Willie , the third from the Mickey Mouse series. This short film shows an anthropomorphic mouse named Mickey ignoring his work on a steamboat to make music using animals on board. While many believe Steamboat Willie is the first synchronized voice cartoon ever since May 1924 and continued until September 1926, Dave and Max Fleischer's Inkwell Studios produced 19 cartoons of sound, part of the Song Car-Tunes series, using the "sound-on" Phonofilm. film process.
In 1933, Warner Brothers Cartoons was founded. Although the Disney studio is notorious for its tightly controlled release by Walt Disney itself, the Warner brothers allow more free animators, allowing their animators to develop a more recognizable personal style.
The first animation to use the full three-color Technicolor method was Flowers and Trees, created in 1932 by Disney Studios, which won an Academy Award for his work. The color animation soon became the industry standard, and in 1934, Warner Brothers released the Honeymoon Hotel from the Merrie Melodies series, their first color film. Meanwhile, Disney has realized that the success of animated films depends on telling emotionally gripping stories; he developed an innovation called "story department" in which the storyboard artist who was separated from the animator would focus on the development of the story alone, which proved his worth when the Disney studio was released in 1933, the first short animation featuring well-developed characters, > Three Little Pigs . In 1935, Tex Avery released his first film with Warner Brothers. The Avery style is especially fast-paced, rugged, and satirical, with a slapstick sensitivity.
Snow White and the Seven Dwarfs
Many consider Walt Disney's 1937 Snow White and the Seven Dwarfs the first animated feature film, although at least seven films were released earlier. However, the Disney movie is the first film made entirely using hand-drawn animation. The seven previous films, of which only four have survived, were made using pieces, silhouettes or stop motion, except one - also made by Disney seven months before the release of Snow White - The Academy Award's Academy Award from Walt Disney Cartoons . This is an anthology film to promote the upcoming Snow White release. However, many do not consider this feature original movie as this is a packaged movie. In addition, in about 41 minutes, the film does not seem to meet today's expectations for a movie. However, the official definition of BFI, AMPAS and AFI of a feature film requires a duration of more than 40 minutes, which, in theory, should make it the first animated film to use traditional animations.
But since Snow White was also the first to become successful and famous in the English-speaking world, people tend to ignore seven films. After the release of Snow White, Disney began to focus much of its productive power on long films. Although Disney continues to produce shorts throughout the century, Warner Brothers continues to focus on features.
Television era
Color television was introduced to the US Market in 1951. In 1958, Hanna-Barbera released The Huckleberry Hound Show , the first half hour television program featuring animation only. Terrytoons released Tom Terrific in the same year. In 1960, Hanna-Barbera released another monumental animated television show, The Flintstones , which is the first animated series on prime time television. Television significantly reduces public attention to animated shorts featured in theaters.
Animation Techniques
The innumerable approach to creating animations has emerged throughout the year. The following is a brief explanation of some commonly used non-traditional techniques.
Stop motion
This process is used for many productions, for example, the most common types of puppets are clay dolls, as used in The California Raisins , Wallace and Gromit and Sheep Shaun by Aardman, and figures made from various rubber, fabrics and plastic resins, such as Christmas Nightmare and James and Peach Giant . Sometimes even the objects used, like with Jan's films? Vankmajer.
The stop motion animation is also commonly used for special effects working in many live-action films, such as the 1914 Italian epic sect film Cabiria , the 1933 version of King Kong and The 7th Voyage of Sinbad .
CGI animation
The first feature computer animated feature is Pixar's Toy Story (1995). The CGI animation process is still very boring and similar in meaning to traditional animations, and still adheres to many of the same principles.
The main difference between CGI animation compared to traditional animations is that images are replaced with 3D modeling, almost like a virtual version of stop-motion. An animated form that combines the two and uses 2D computer images can be thought of as an animated assisted computer.
Most CGI movies are based on animal characters, monsters, machines, or cartoon-like humans. Animated studios are now trying to develop ways to create realistic-looking human beings. The films that have been tried include Final Fantasy: The Spirits Within in 2001, Final Fantasy: Advent Children in 2005, The Polar Express on 2004, Beowulf in 2007 and Resident Evil: Degeneration in 2009. However, due to the complexity of human body functions, emotions and interactions, this animation method is rarely used. The more realistic the CG character, the harder it is to create the nuances and details of the living person, and the more likely the characters fall into the incredible valley. The creation of hair and clothing that move convincingly with the animated human character is another area of ​​difficulty. The Incredibles and Up both have humans as protagonists, while movies like Avatar combine animation with live action to create humanoid creatures.
Cel-shading is a non-photorealistic rendering type intended to make computer graphics appear hand drawn. This is often used to mimic the style of comic books or cartoons. This is a rather recent addition to computer graphics, most often appearing in video game consoles. Although cel-shading ends have very simple shades like hand-drawn animation, the process is very complex. The name comes from a clear sheet of acetate (originally, celluloid), called cels, which are painted for use in traditional 2D animations. This can be considered as a "2.5D" animation. True-time cel-shading was first introduced in 2000 by Sega's Jet Set Radio for their Dreamcast console. In addition to video games, a number of anime also use this style of animation, such as Freedom Project in 2006.
Machinima is the use of real-time 3D computer graphics rendering engine to create cinematic production. Most often, video games are used to generate computer animation. Machinima-based artists, sometimes called machinimists or machinimators , are often fan-workers, based on their reuse of copyrighted material.
The first in animation
America
Argentine animation history
The first two long animated films in the world and the first movie with sound developed in Argentina by Quirino Cristiani;
- 1917: El ApÃÆ'³stol
- 1918: Sin de rastros
Brazilian animation history
- 1917: ÃÆ' lvaro Marins produces Kaiser , the first animated short film of Brazil.
- 1953: Anà © à © lio Lattini Filho produces Amazon Symphony , Brazil's first animated film.
- 1996: The NDR film produces CassiopÃÆ' Â © he , considered to be the first CG movie in the world.
Canadian animated history
- 1914: Raoul Barrà ©  © BarrÃÆ'  © Studio produces animated segments for Animated Grouch Chaser .
- 1916: Raoul BarrÃÆ' Â © produces Mutt and Jeff .
- 1919: Jack (J.A.) Norling produces The Man Who Woke Up , the oldest living animation made in Canada.
- 1926: Raoul BarrÃÆ' Â © serves as guest animator for Felix the Cat .
- 1941: The animation department of the National Film Council of Canada was established with the addition of Norman McLaren to the organization..
Cuban animation history
- 1970: Juan PadrÃÆ'³n creates Elpidio ValdÃÆ' Â © s character, the star of a series of shorts and two long moving movies.
- 1985: Juan PadrÃÆ'³n's Ã,¡Vampiros en la Habana!
- 1992: Animation category added to Festival Internacional del Nuevo Cine Latinoamericano.
Mexican animated history
- 1935: Alfonso Vergara produces Paco Perico en premier , short animated movie.
- 1974: Fernando Ruiz produces Los tres reyes magos , Mexico's first long animated film.
- 1977: Anuar Badin makes Los Losersabios film, based on comics.
- 1983: Roy del espacio
The history of the United States animation
- Early production of cartoon animation industry.
The Czech puppet animation roots began in the mid-1940s when the puppet theater operators, Eduard Hofman and Ji? ÃÆ' ÃÆ' Trnka set up a school of Poetic animation, Brat? I v triku. Since then animation has evolved and developed.
- 1945: D? deck zasadil? epu ("My grandfather planted bits")
- 1946: ZvÃÆ'? ÃÆ'¡tka to petrovstÃÆ' ("Animal and bandit")
- 1946: PÃÆ' Â © SS rack ("Jumper and SS people")
- 1946: DÃÆ'¡rek ("Gift")
- 1947: ? palÃÆ'? oak ("Czech Year")
- 1949: RomÃÆ'¡n s basou ("The story of bass")
- 1949: ? ertuv mlÃÆ'½n ("The Devil's Mill")
- 1949: Arie prerie ("Song of the Prairie"))
- 1949: CÃÆ'sa ?? v SlavÃÆ'k ("The Emperor's Nightingale")
Estonian animated history
Iranian animation relies heavily on animator Noureddin Zarrinkelk. Zarrinkelk was instrumental in establishing the Institute for Intellectual Development of Children and Young Adults (IIDCYA) in Tehran in collaboration with the late graphic fathers of Iran Morteza Momayez and other fellow artists such as Farshid Mesghali, Ali Akbar Sadeghi and Arapik Baghdasarian.
- Around 3000 BC: Zoopraxiscope-style animated pottery is produced. It is considered one of the oldest forms of animation in the world.
- 1970: Tasks, First
- 1971: A Playground for Baboush
- 1971: Philipo and Train from Hong Kong
- 1971: Seven Cities
- 1972: Flower Bath
- 1973: Association of Ideas
- 1973: I'm who he is...
- 1974: Atal-Matal
- 1974: Fortress
- 1975: Crazy World, Mad, Crazy
- 1975: King of the Sun
Japanese animation history (anime)
- Around 1915: Found in Kyoto in 2005, Japan's earliest known animated film is Katsud? Shashin ( Moving Image ), which depicts a boy wearing a sailor's uniform performing salute. The undated movie is considered the earliest example of Japanese animation. The inventors speculate that it is since 1907. It consists of 50 frames assembled in 35mm Celluloid with paste.
- 1917: Imokawa Mukuzo Genkanban no Maki
- 1917: Namakura Gatana
- 1918: Urashima Tar?
- 1921: Kiatsu to Ponpu Mizuage
- 1922: Shokubutsu Seiri: Seishoku no Maki
- 1924: Usagi to Kame
- 1945: Lines of the Divine Momotaro Divinity
- 1958: White Snake Story
- 1963: Astro Boy
- 1968: Hols: Prince of the Sun
- 1970: Ashita no Joe
- 1974: Yamato War Ship Space
- 1979: Gundam Phone Settings
- 1979: Cagliostro Castle
- 1984: NausicaÃÆ'¤ of the Valley of the Wind
- 1984: Lensman: Secret Lens
- 1986: Dragon Ball
- 1987: Evil City
- 1988: Lolo Penguin Adventure
- 1988: My Totoro Neighbor
- 1988: Tomb of the Fireflies
- 1988: Akira
- 1989: Dragon Ball Z
- 1992: Yu Yu Hakusho
- 1993: Ninja Scroll
- 1995: Neon Genesis Evangelion
- 1995: Ghost in the Shell
- 1996: Dragon Ball GT
- 1997: Pokémon
- 1997: Mononoke Princess
- 1998: Hunter x Hunter
- 2000: Vampire Hunter D: Bloodlust
- 2000: Yu-Gi-Oh!
- 2001: Spirited Away
- 2001: Millennium Actress
- 2002: Naruto
- 2004: Howl Fortress
- 2004: Bleach
- 2006: Paprika
- 2008: Ponyo
- 2009: Fairy Tail
- 2011: Hunter x Hunter
- 2013: Attack on Titan
- 2013: Wind Increases
- 2014: Noragami
- 2014: Kaguya Princess Story
- 2015: Dragon Ball Super
- 2015: Men One Punch
- 2016: Yuri on Ice
Animation History of Malaysia
Animation in Malaysia began in 1946 with the establishment of the Malaya Film Unit (now known as the National Film). The first short animated film was the Hikayat Sang Kancil (Anandam Xavier, 1978) and aired in 1983. Short films that appeared between 1985 and 1987 were: The Mouse & Monkeys, Mouse, & amp; Crocodile, The Crow Rage, Rabbit Arrogant, and Lion of Haloba made by Hassan Abdul Muttalib.
- 1972: Merry Christmas
- 1979: Remove Aedes Mosquito
- 1978: Hikayat Sang Kancil
- 1985: Deer & amp; Monkey
- 1985: Deer & amp; Crocodile
- 1986: Crow Raven
- 1986: Arrogant Rabbit
- 1987: Lioness of Lies
- 1993: Soporte Usop
- 1996: Keluang Man
- 1999: Kampong Boy
- 1999: Sidekick
- 1999: Hero
- 2006: Villageball
- 2007: Up & amp; Ipin
- 2011: Boboiboy
- 2014: The Amazing Awang Khenit
- 2016: Ali Agent
Oceania
Australian animation history
Lihat: Logika Hewan, Yoram Gross, Flying Bark Productions
- 1977: Dot dan Kanguru
- 1979: The Little Convict
- 1982: The Seventh Match (juga dikenal sebagai Sarah )
- 1984: Bocah Unta
- 1984: Epik: Days of the Dinosaurs (juga dikenal sebagai EPIC )
- 1991: The Magic Riddle
- 1992: Blinky Bill: The Koa Gila
- 1992: FernGully: The Last Rainforest
- 2000: Puding Ajaib (2000)
- 2006: Kaki Senang
Animasi History of New Zealand
View: Digital Weta
Media
Note
References
The work cited
Bibliography
Online
- Anime News Network staff (2005-08-07). "The Oldest Anime Found". Anime News Network . Retrieved 2014/02/12 Ã,
- Cohn, Neil (February 15, 2006). "The Visual Linguist: Burnt City
animationVL". Visual Linguist - Ball, Ryan (March 12, 2008). "The oldest animation found in Iran". Animation Magazine
- Bendazzi, Giannalberto (1996). "The Unspoken Story of Argentina's Pioneer Animator". World Network Animation . Retrieved 2011-03-28 .
External links
- Animated chronology
- European animated film
- Animation before movie
Source of the article : Wikipedia
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