A HISTORY OF ANIMATION
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Transcript of A HISTORY OF ANIMATION
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A HISTORY OF ANIMATION
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MANY scholars write that the history of animation started
over 30,000 years ago in the caves of France and Spain where Neanderthals drew
running and vaulting animals to suggest “living” motion.
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Thanks to “Non Sequitur” writer andcartoonist Wiley Miller (who spent his high school years in McClean,Virginia,
and who graduated from VirginiaCommonwealth University), today we
know the true story about Neanderthalsand the history of animation . . .
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The history of animation
has also been traced
back to the early- to
mid-1700s when Dutch
scientists and brothers
Pieter and Jan van
Musschenbroek created
the forerunner of the
modern slide projector.
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Their creation became
known as the MAGIC
LANTERN, which could
project a series of slides.
This is a photo of the
oldest known existing
lantern made around
1720 by Jan van
Musschenbroek.
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The wooden case stands on a height adjustable,base. Smoke and heat from the oil burning lampescaped from a tin chimney on top of the body.
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A concave mirror and an ingenious lens arrangement projected a image visible up to a distance of ten metres.
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IN 1824, Peter Mark Roget publishedPersistence of Vision with Regard to Moving Objects, which established four principles of animation:
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1. The viewer’s vision must be restricted to one still picture at a time.
2. The eye blurs many images into one image if they are presented in quick succession.
3. A certain minimum speed is required to produce this blurring effect.
4. A large quantity of light is essential to create a convincing image.
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In 1829, Belgian artist &
scientist Joseph Plateau
developed the
PHENAKISTOSCOPE,
a series of pictures
mounted on a
spinning disc.
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Major cities of the world offered a
hundred variations of this new “toy,”
with moving pictures of running dogs,
horses, monkeys, fish, and acrobats.
These first animation devices were
called a variety of names from
ANIMATOSCOPE to ZOETROPE.
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The PHENAKISTOSCOPE set the stage for the developmentsof the last decade of the nineteenth century:
The invention of the camera (attributed to The Edison Company), the invention of film (attributed to Eastman Kodak Company), and the first successful film projection (attributed
to the Lumière brothers in 1896).
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One early version of “claymation”
using stop-camera produced by the
Thomas Edison Company in 1900
was Fun in a Bakery Shop.
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IN 1883 IN NEW
YORK CITY,
Joseph Pulitzer
bought the
New York World,
giving it a new
flair and style.
Competition for
newsstand sales
began in earnest.
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Another New Yorker, William Randolph Hearst bought the Journal, and
started to imitate Pulitzer’s style. As competition
heated up, Pulitzer sought an edge. In 1893, he
bought a four-color rotary press to print famous
works of art for his New York World Sunday
supplement.
Though the art series was unsuccessful, Pulitzer’s Sunday editor, Morrill
Goddard, talked Pulitzer into using the equipment
for comic art similar to the work done in Judge, Puck, and Life, the most popular
humor magazines of the time.
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Goddard hired Richard Outcalt,a young American comic artist
who created the first comicseries, Down in Hogan’s Alley,
published in 1895. Hogan’sAlley, as the series came to becalled, attempted to burlesquecurrent events using a group of
neighborhood characters.
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The setting for Hogan’s Alley wasthe city slums—squalid tenements
and backyards filled with dogs,cats, and little tough guys. One of
the street kids was a nameless,one-toothed, bald-headed boy
dressed in a long, dirty nightshirt,the front of which was often used
for additional commentary.
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At the time, yellow inkhad a tendency to
smudge on newsprint.To experiment, a press
foreman arbitrarilychose the bald-headed
kid’s nightshirt onwhich to try out a
quick-drying yellowink. The Yellow Kidwas born, and withhim, some say, the
comic strip.
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The Yellow Kid was so popular that the
close association of wild-headlines with
this yellow-shirted character gave rise to
the name “yellow journalism.” Many
credit Outcalt and the comic strip artists
following him as the ones who gave birth
to animated art on film. Indeed, almost all
of the early animators started as comic
strip artist and were even traded from
paper to paper like sports players.
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Among the most famous of cartoonists was Winsor McCay, Max Fleisher, and George
Herriman, the creator of Krazy Kat. Krazy KatGoes A-Wooing (1916) and the Krazy Kat film
series was animated by a different artist, Leon Searl.
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Many historians credit French
animator Emile Cohl with the first
animated film. American animator
and historian John Canemaker
credits J. Stuart Blackton with the
first two animated films:
The Enchanted Drawing, and
Humorous Phases of Funny Faces.
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In The Enchanted Drawing(1900), Blackton, then a
cartoonist for the New YorkEvening World, is photographedin Thomas Edison’s New Jerseystudio, performing a vaudeville
routine knows as the “lighteningsketch,” supplemented by stop
camera tricks that bring theobjects to life.
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Humorous Phases of Funny Faces (1906)used chalkboard sketches and then cut-outs tosimplify the process. The flickering in the film
was common to the earliest animation andresulted from the camera operator’s failure to
achieve consistent exposure in manual one-frame cranking.
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Winsor McCay put his newspaper-born Little Nemoon film in 1911. He gave us the first fluid animation,drawing on translucent rice paper, and using crude
crossmarks for registration from frame to frame.
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After his longtime assistant John A.
Fitzsimmons developed a cel
registration system (a forerunner of
most peg systems used today), McCay
introduced “animation cycles,” the
repeated use of a series of cels. He
used his cycle technique in How a
Mosquito Operates, and the highly
successful Gertie the Dinosaur.
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The following fragment from Gertie on Tour
(1921) was done in collaboration with
McCay’s son John and Fitzsimmons. It may
have been released as part of the 1921
Series Dreams of the Rarebit Fiend.
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SOME MILESTONES IN ANIMATION INCLUDE:
Emile Cohl created the first animated series Phantasmagorie, a simple blackboard technique with stick figures.
Raoul Barré established the first studio capable of producing animated cartoons in quantity.
Max Fleisher filed for a patent for the Rotoscope, a device that allowed the animator to trace over live-action images
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In Pat Sullivan’s
studio, cartoonist
Otto Messmer
created Felix the
Cat, the hottest
cartoon property
around during
the 1920s.
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But 1927 brought two things: soundon film, and the loss of Felix.Wonderful Felix, who walked andran to piano music or whatever thetheatre musicians happened to beplaying, had a short lived career.Sullivan, who owned him, refused tobelieve that Felix needed soundaccompaniment. A new animatedanimal star would take Felix’s place.