By Giannalberto Bendazzi
A continuation of 1994’s groundbreaking Cartoons, Giannalberto Bendazzi’s Animation: an international History is the most important, inner most, such a lot finished textual content of its sort, in accordance with the concept animation is an artwork shape that merits its personal position in scholarship. Bendazzi delves past simply Disney, delivering readers glimpses into the animation of Russia, Africa, Latin the United States, and different often-neglected parts and introducing over fifty formerly undiscovered artists. packed with first-hand, by no means sooner than investigated, and somewhere else unavailable details, Animation: a global History encompasses the background of animation creation on each continent over the span of 3 centuries.
Volume I lines the roots and predecessors of recent animation, the historical past in the back of Émile Cohl's Fantasmagorie, and 20 years of silent lively films. Encompassing the youth of the paintings shape via its Golden Age, this ebook debts for animation background via 1950 and covers every little thing from recognized classics like Steamboat Willie to animation in Egypt and Nazi Germany. With a wealth of latest study, hundreds and hundreds of photos and picture stills, and an easy-to-navigate association, this publication is vital analyzing for all critical scholars of animation history.
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Extra resources for Animation: A World History: Volume I: Foundations - The Golden Age
12 But this is not what really matters. Screening Méliès’ films today is like viewing an animated film . . without animation. The story unravels against unnaturally painted backgrounds; the actors themselves seem purely figurative elements, covered by masks, costumes, or camouflages. In addition to this, the movie camera is stationary (Méliès filmed according to the principle that the movie camera should be like a gentleman in his armchair); therefore, all the action occurs as if in an animated puppet theatre.
Laurent Mannoni, Le grand art de la lumière et de l’ombre, Nathan, Paris, 1994. 24 On the other hand, they entirely depended on the action, skill, and inspiration of the projectionist showman, so to our intellect they seem to be more ‘theatre’ – the way puppeteering is ‘theatre’. 25 Some more information, good to stir even more up the querelle on the birth of animation, is provided by the French scholar Yves Rifaux. In his booklet ‘A propos de l’invention du cinéma d’animation’ (Jica Diffusion, Annecy, France, 1990), Rifaux writes: 22 23 As soon as 1897, some manufacturers of magic lanterns for children launched on the toy market projection devices for animated views.
The same – slightly displaced again – a third picture. And so on, thirteen more times. . one second of a self-moving object. Self-motion of a motionless entity. This ‘trick’ was special. It was bound to become a language, and to give birth, as such, to the twin of live-action cinema, animation. In the following paragraphs, we’ll examine the deeds of some pioneers who made good use of the frame-by-frame technique. Samuel T. Coleridge coined the phrase in his Biographia Literaria (1817). Admittance cost: a nickel (equal to five cents of a dollar).
Animation: A World History: Volume I: Foundations - The Golden Age by Giannalberto Bendazzi