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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 thecaves of France and Spain
where Neanderthals drew
running and vaulting animalsto suggest living motion.
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Thanks to Non Sequitur writer and
cartoonist Wiley Miller (who spent his
high school years in McClean,Virginia,and who graduated from Virginia
Commonwealth University), today we
know the true story about Neanderthalsand the history of animation . . .
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The history of animation
has also been tracedback to the early- to
mid-1700s when Dutch
scientists and brothersPieter 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 around1720 by Jan van
Musschenbroek.
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The wooden case stands on a height adjustable,
base. Smoke and heat from the oil burning lamp
escaped from a tin chimney on top of the body.
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A concave mirror and an ingenious
lens arrangement projected a imagevisible up to a distance of ten metres.
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IN 1824, Peter MarkRoget published
Persistence of
Vision with Regard
to Moving Objects,
which established
four principles of
animation:
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1. The viewers vision must be
restricted to one still picture at atime.
2. The eye blurs many images into oneimage if they are presented in quicksuccession.
3. A certain minimum speed isrequired 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 aspinning disc.
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Major cities of the world offered ahundred 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 fromANIMATOSCOPE to ZOETROPE.
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The PHENAKISTOSCOPE set the stage for the developments
of the last decade of the nineteenth century:
The invention of the camera (attributed to The EdisonCompany), the invention of film (attributed to Eastman Kodak
Company), and the first successful film projection (attributed
to the Lumire 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 salesbegan in earnest.
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Another New Yorker,
William Randolph Hearst
bought the Journal, and
started to imitate Pulitzers
style. As competitionheated up, Pulitzer sought
an edge. In 1893, he
bought a four-color rotary
press to print famous
works of art for his New
York WorldSundaysupplement.
Though the art series was
unsuccessful, Pulitzers
Sunday editor, Morrill
Goddard, talked Pulitzerinto 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 artistwho created the first comic
series, Down in Hogans Alley,
published in 1895. Hogans
Alley, as the series came to be
called, attempted to burlesquecurrent events using a group of
neighborhood characters.
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The setting for Hogans Alley wasthe city slumssqualid tenements
and backyards filled with dogs,
cats, and little tough guys. One ofthe 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 ink
had a tendency tosmudge on newsprint.
To experiment, a press
foreman arbitrarily
chose the bald-headed
kids nightshirt onwhich to try out a
quick-drying yellow
ink. The Yellow Kid
was born, and withhim, some say, the
comic strip.
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The Yellow Kidwas so popular that the
close association of wild-headlines withthis yellow-shirted character gave rise to
the name yellow journalism. Many
credit Outcalt and the comic strip artistsfollowing 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 GeorgeHerriman, the creator ofKrazy Kat. Krazy Kat
Goes A-Wooing(1916) and the Krazy Katfilm
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 Canemakercredits J. Stuart Blackton with the
first two animated films:
The EnchantedDrawing, and
Humorous Phases ofFunnyFaces.
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In The EnchantedDrawing
(1900), Blackton, then a
cartoonist for the New YorkEvening World, is photographed
in Thomas Edisons New Jersey
studio, performing a vaudeville
routine knows as the lightening
sketch, supplemented by stopcamera tricks that bring the
objects to life.
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Humorous Phases ofFunnyFaces (1906)
used chalkboard sketches and then cut-outs to
simplify the process. The flickering in the film
was common to the earliest animation and
resulted from the camera operators failure to
achieve consistent exposure in manual
one-frame cranking.
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Winsor McCay put his newspaper-born Little Nemo
on 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
McCays 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 seriesPhantasmagorie, a simple blackboard
technique with stick figures.
Raoul Barr established the first
studio capable of producing
animated cartoons in quantity.
Max Fleisher filed for a patent for theRotoscope, a device that allowed the animator
to trace over live-action images
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In Pat Sullivans
studio, cartoonist
Otto Messmer
created Felix the
Cat, the hottestcartoon property
around during
the 1920s.
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But 1927 brought two things: sound
on film, and the loss of Felix.
Wonderful Felix, who walked and
ran to piano music or whatever the
theatre musicians happened to be
playing, had a short lived career.
Sullivan, who owned him, refused to
believe that Felix needed sound
accompaniment. A new animated
animal star would take Felixs place.