ANIMATION

Graphic design

Alejandra Ivonne Azuara Chora

 Animation cinema

Animation is the technique that gives a sensation of movement to images,

drawings, figures, cutouts, objects, people, computer images or anything else that
creativity can imagine, by photographing or using tiny changes in position so that,
through a phenomenon of persistence of vision, the human eye captures the process
as real movement. According to American animator Gene Deitch, "cinematic
animation is the recording of individually created phases of an imaginary action in
such a way that the illusion of movement is produced when projected at a constant
and predetermined rate, greater than the persistence of vision in the person."
While in live action cinema a real movement is analyzed and broken down (24
frames per second), in animation cinema a movement that does not exist in reality is
constructed (from 24 to 8 frames per second).
With the invention of the crank step, Chomón established the fundamental
principles of animation. Cohl later applied them to the graphic field, and laid the
foundations for what would over the years become the powerful cartoon industry.
McCay gave cartoons the basic technique that they have maintained to this day, since
the principles of animation on paper, on acetate or by computer, the most technically
advanced form of the genre, are exactly the same; only the appearances change.
In the case of the computer, the crank trick is taken to the extreme: the elementary
unit handled, the pixel, is much smaller than the frame, the result is that the animator
has total control of both space - the object filmed - and time - the movement of the
images. In the future, lower costs will allow for widespread use in scientific research,
in the generation of graphics and resources for education, in simulations of all kinds,
and in fields where, as is often the case, applications are yet to come.
 Various types of animation

There are numerous forms of animation, depending on the creativity of the

animators and the technique or objects used.
Cartoon
Cartoons are created by drawing each frame. At first each frame was painted
and then filmed, a process that was accelerated by the appearance of cell or
acetate paper animation invented by Bray and Hurd in the 1910s. They used
transparent sheets on which they animated their characters on the background.
Later, the technique was streamlined by computer drawings, since there are
programs that assist in the creation of intermediate paintings.
Stop motion
When animation does not fall into the previous category, that of cartoons, it is
called stop motion, in which life is given to objects of all kinds, models, scale
objects, dolls, whether articulated or made of plasticine, taken from reality
through photography or filming. For this purpose, "frame by frame" or "frame by
frame" recording is used, which was pioneered by Segundo de Chomón with his
so-called "crank step." When what is animated are cutouts, cardboard, paper or
photographs, it is called cutout animation.
In clay animation or animation with other moldable materials, the figures are
transformed or moved in the progress of the animation step by step. It is a very
laborious process that requires fidelity to the determined times and the credibility
of the movements, sometimes eyes and puppet wedding, for when it is projected
at twenty-four images per second. Any material that can be photographed can be
used to be animated: sand, water, needles, etc. Nowadays, computers make the
task easier.
Stop trick (literally "stop trick")
Type of special effect when filming an object and, while the camera is off, the
object is placed out of view of the camera and then turned back on. When
watching the film, the viewer feels as if the object disappears.
 Georges Méliès discovered the stop trick accidentally when he was filming
traffic on a street in Paris. The camera mechanism jammed; traffic continued to
move normally but the camera stopped rolling until Méliès could fix the
mechanism. Later, while screening the film, he was stunned to see a bus suddenly
transform into a hearse. What had actually happened was that the bus had moved
out of shot after the camera jammed and had been replaced by the hearse as it
continued rolling. Méliès used this technique to film magic tricks. For example,
he could film a magician and his assistant girl; the magician would make a
gesture and Méliès would stop the camera. He would then tell the girl to get out
of the camera's view and start filming again. Watching the full movie, it seemed
like the girl had disappeared after the magician's gesture.
This technique should not be confused with the stop motion technique, in
which the entire film is created frame by frame.
Replacement of parts
The technique of "replacement animation" (animation by replacement, or by
substitution). The capture system is basically the same as that of conventional
stop-motion, but the puppets used here, usually carved from wood, do not have
moving parts, but rather interchangeable pieces. It consists of creating as many
pieces as movements or expressions the character will need. An easy-to-
understand example is to design different heads – with a smile, sad, angry… –
and place the corresponding head at the right moment in the shot. The pieces are
made in advance following the animation sketched on paper, and then instead of
moving the dolls' limbs, what is done is replace the pieces. In this way, a simple
movement could require a large number of pieces, around 20.
Puppertoons
The term Puppertoons was coined by Geor Pal and his partner Dave Bader,
and is composed of the terms puppet and cartoons. Since it was about animating
the puppets following the classic drawing animation technique, that is, a different
character figure for each frame.
 Direct film
This is the name given to something that is directly drawn, scratched, painted
or composed on the same celluloid. New Zealander Len Lye was a pioneer.
Sometimes, as in the case of Norman McLaren, he also drew the soundtrack.
Pixilation
Pixilation is a variant of stop-motion, in which people or everyday objects are
animated. To do this, photographs are taken repeatedly, slightly moving the
object. In the case of people, sections of a film are deleted in order to create a
different sensation. Norman McLaren pioneered this technique (previously used
by Emile Cohl), used in his animated short A Chairy Tale, in which he makes a
chair move, or his short film Neighbours (1952), in which two people perform
very complicated movements. Norman McLaren also experimented with drawing
directly on celluloid, both for the images and the production of the soundtrack
itself. See McLaren
Rotoscoping
Disney animated Snow White in moments of some complication, going down
stairs, dancing, and other characters by filming real people. The equivalent in
infographics is the technique called motion capture.
Limited animation
It is a process of creating cartoons that decreases the number of frames per
second. Instead of creating animation at 24 frames per second, many of these
frames are duplicated, abstract art, symbolism, repetition of backgrounds and
movements are used to create the same effect, making the drawing more
imperfect, but significantly reducing costs. A characteristic example is the
Flintstones.
Flash animation
Flash is a multimedia editing program with several purposes: creating
animations, multimedia content, games, etc. With it, animations can be created
and in fact many production companies are currently doing 2-D animation work
with this system for web pages and multimedia websites.
3D animation
 It refers to a type of animation that simulates three dimensions. It is done
through a process called rendering, which generates a 2D image from a 3D
model. So you could say that in the rendering process, the computer "interprets"
the scene in three dimensions and captures it in a two-dimensional image.
Photo-reality
It consists of transferring the real world to the virtual world in the most
realistic way possible. A film made using this technique was Final Fantasy, in
2002, by Hironobu Sakaguchi, which, although it failed commercially, will
remain as a tool with which to investigate in the future.
Motion capture animation and performance capture
Performance Capture is a recent development in computer image capture
techniques. It could be translated as performance capture, when "Motion
Capture", the previous system on which it is based, was the capture of some
body movements using sensors that are interpreted by a computer. Watch 21st
century cinema.

The prehistory of animation. Animation before cinema (See: Pre-cinema)

In artistic manifestations, since the beginning of time, the human species has
attempted to represent the illusion of movement, in cave paintings, or in
Egyptian and Greek art, or in Chinese shadows. However, it was Anthonasius Kircher who in 1640 invented the Magic Lantern,
with which he projected various phases of a movement through engravings on glass,
which changed mechanically.
In 1824, Peter Mark Roget discovered the "Principle of Persistence of Vision", the
foundation on which all projected images we know today are based. He demonstrated
that the human eye retains the image it sees long enough to be replaced by another,
and so on, until it makes a complete movement, and Dr. John Ayrton Paris put the
thaumatrope on sale in London. First optical toy that exploits the persistence of the
image on the retina, composed of a disk and threads linked to the ends of its
diameter. On each face there is a drawing;
rotate the disk on an axis, the 2 drawings are seen simultaneously.
In 1828, Joseph Plateau (Belgium, 1801-1883) established that a light impression
received on the retina persists for 1 second after the disappearance of the image; he
concluded that images that follow one another at more than 10 per second give the
illusion of movement (the discovery of the principle of persistence of retinal
impressions dates back to the 2nd century).
Two people, it is not known who did it first than the other, invented the first
wheels of this type in 1832. Simon Ritter von Stamfer, from Vienna, Austria, who
called it the Stroboscope, and Joseph Plateau himself, who called it the
Phenakistoscope. These were the first instruments capable of creating the impression
of an image that actually moved.
Meanwhile, photography was born, without which cinema would not exist.
Around 1852, photographs began to replace drawings in devices for viewing moving
images. As the speed of photographic emulsions increased, it became possible to
photograph actual movement rather than fixed poses of that movement.
In 1877, the Frenchman Émile Reynaud achieved greater flexibility in the apparent
movement of figures with the Praxinoscope, a rotating drum with a ring of mirrors
placed in the center and drawings placed on the inner wall of the drum that seemed to
come to life when rotating. He applied it to "praxinoscopic theatre" in which faint
luminous figures moved through a combination of mirrors. It allowed animated films
with a story to be projected onto a screen for an audience, and, accompanied by
music and sound effects, maintained a cartoon show from 1892, three years before
the first public cinema session, until the end of the 19th century. The performances
were held at the Grévin Museum in Paris with films lasting about 10 minutes. and in
which he already used the foundations of modern animation, drawing the characters
on transparent paper to avoid repeating backgrounds.
 The pioneers of film animation

The official year of the birth of cinema is 1895, but the birth of animated film
occurred about ten years later, in 1905. It was that year when Segundo de
Chomón made El hotel eléctrico, 1905, perhaps the first animation in history,
although the official history, written mainly by Anglo-Saxons and French, says
that this honor corresponds to La casa encantada, The haunted house, 1907, by
the Englishman living in the United States, James Stuart Blackton. In 1907,
James Stuart Blackton Chomón made Los Ki ri ki for the Pathé brothers, one of the first coloured films
using a system devised by Chomón himself. The truth is that the honor of the first
animated film is disputed by the filmmakers Stuart Blackton, American,
Segundo de Chomón, Spanish, and Emile Cohl, French.
James Stuart Blackton (1875-1941), illustrator and journalist, filmed The
Enchanted Drawing in 1900, one of the first animated productions, much
imitated by his contemporaries, in which he made rapid drawings of faces on a
blackboard, where the characters changed expression by means of substitution
tricks. In 1906 he made Humorous Phases of Funny Faces, considered by some
to be the first animated cartoon in history, since the characters' movements are
achieved through the rapid succession of frames. In the short film Haunted Hotel,
1907, a well-laid table can be seen on which the cutlery moves by itself, where
the stop motion technique was used and three-dimensional object animation was
introduced. This film was followed by another, The Magic Fountain Pen, 1909,
in which an animated pen with a life of its own draws on a white sheet of paper.
Blackton had extensive contacts with Albert E. Smith, Edison and the founders of
Second of Chomon Vitagraph.
Second of Chomón (1871-1929). Chomón's great invention was the
mechanism for controlling the movement of the camera crank, through which the
time and movement of images could be manipulated. It was the starting point for
all animated cinema and is the basis for this to this day. From this discovery (-
stopmotion), he developed a device called "camera 16", which filmed frame by
frame, and with which he carried out his most daring projects. He made The
Electric Hotel, produced in 1908 by the

Emile Cohl
Pathé, perhaps inspired by Stuart Blackton's The Haunted Hotel (1906). Among
Chomón's most significant works in terms of animation is La poule aux oeufs
d'or (1905), based on the fable of La Fontaine, which features a picture of hens
that turn into dancers thanks to the movement of a crank, an egg transfigured
into a bat and another that houses the head of a demon. In La maison hantee
(1906) he narrates a nightmare through transparencies and Chinese shadows, in
Le Theatre du Bob (1906) he uses articulated dolls that fight at fencing, box,
and do gymnastics. In many other films Chomón used his creativity to trick
using his crank, coloring and other systems.
Emile Cohl. He was a comic book artist. From 1908 he made the first
animated short films, watching the works of Chomón, Méliès and Blackton,
especially the latter's The Haunted House, and imagined new possibilities for
that type of film. Using the same frame-by-frame recording technique, he made
Fantasmagorie (Pantoche's Nightmare), a film that has the value of opening
animation to the field of graphics and is considered the first animated film and
the first character to whom more than one film would be dedicated. Between
1908 and 1921, Cohl made 250 animated films, all inspired by the philosophy
of the Incoherents, who were convinced that madness, hallucinations, dreams
and nightmares were the greatest source of aesthetic inspiration. He combined
real-life and animated characters in Clair de lune espagnol, made the
Snookums series in the United States, and upon his return to France in 1918,
Les pieds niqueaux. He also made The Merry Microbes (1910-1911), The
Smoking Lamp, trick films based on giving false mobility to objects, The
Animated Matches, and a version of Faust with puppets.
Billy Bitzer, (1874-1944), used stop motion to make busts and statues
appear laughing and even smoking, in The Sculptor's Nightmare. But his
popularity is due to two great qualities: his continuous experiments during
filming or taking photographs that marked the path of future directors and art
directors and his association with Griffith. Bitzer, considered the first director
of photography in the history of cinema, is responsible for numerous technical
inventions and filming procedures that advanced cinematic language.
 George Méliès (1861-1938). He used abundant effects created with animation
techniques in his films. He was a famous magician in the late 19th century and
brought to the screen some of the tricks that made him popular on stage. Some of
his films from this period feature tricks achieved by shooting certain scenes
frame by frame.
Cecil Hopworth (1874-1953), in the UK. He directed The Electricity Cure,
the first of a series whose titles are sufficiently expressive: The Electrical Goose
(1905), The Electric Hotel (1906), The Electric Belt (1907), Liquid Electricity
(1907), The Electric Servant (1909) and The Electric Vitaliser (1910), all of
which were full of animation effects.
An undisputed pioneer of cartoons was Winsor McCay, who was a
caricaturist and comic book author for the New York Herald and who was
attracted by the cinematic spectacle, so he began to experiment with cartoons.
He made all the drawings for the film Little Nemo (1911), which took him four
years. inspired by his comic strip Little Nemo in Slumberland. He also made
Gertie the dinosaur (1914), which he made himself cardboard by cardboard,
and which contained ten thousand frames. The film consolidated his technique
of animating intermediate movements between two extreme positions. Jersey
Skeeters (1916), The Sinking of the Lusitania (1918) - Watch animated
documentary - and The Dream of a Rarebit Friend (1921), essential titles in
the history of these techniques.
John Randolph Bray (1879-1978) was the first to realize the industrial
possibilities of cartooning. In 1903 he created the series Little Johnny and His
Teddy Bears. He founded a studio and produced several films, including
Colonel Heezaliar's African Hunt (1914). He was the one who developed the
technique of superimposed transparent acetate (Cel-Systems), which was a
revolution in the creation of cartoons and has lasted until the computer age.
The cel systems are attributed to Bray and also to Earl Hurd. The two joined
forces to form the Bray-Hurd Process Company. In 1919 he directed the first
two-color animated film, The Debut of Thomas Cat, but the process was
judged too expensive for commercial use.
The character of Krazy Kat, a funny feline created in 1910 by George
Herriman for one of Hearst's main headers, the New York Journal, became
part of
part of the world of cinema in 1916, when several short films, about three
minutes long, were made about the character. Shortly after, influenced by the
success of this feline, an executive at Paramount Pictures, John King, hired two
comic book artists, Pat Sullivan and Otto Messmer, to make a film starring a
character invented by Sullivan, Felix the Cat. Her first film was Feline Follies
(1918).
Worthy of mention are Arnaldo Ginna, 1890-1982, Italian painter, sculptor
and film director, who created the technique of painting directly on celluloid,
which was later adopted by Len Lye and Norman McLaren. He believed that
colour and shapes could be shown in the same way as the musical motifs in a
piece. Wladislaw Starewicz, in The Cameraman's Revenge (1912), a stop
motion masterpiece with three-dimensional figures, in this case stuffed beetles.
Wladislaw Starewicz, known in France as Ladislas Starewitch, produced La
cigale et la fourmi and La reine des papillons in France in 1927.
Canadian Raoul Barre founded his own studio and developed an animation
technique based on tearing and cropping to achieve different levels in the
image. Charles Bowers brought to the screen the comic strips created by Harry
Fisher for various newspapers in Mutt and Jeff (in Spanish Benitín y Eneas),
who remained a leading figure in animated cartoons well into the 1920s. The
series included about 500 cartoons, and ended in 1928.
In Spain, after the experiments of Segundo de Chomón, the first fully
animated Spanish film was El Toro Fenómeno, ten minutes long, made in 1919
by Fernando Marco, a film that could have been the first in a promising series
that was never produced given the exploitation difficulties its author had to
face.
 Felix the Cat and cartoons featuring
Felix the cat
the character enjoyed enormous success
in the 1920s and lasted until 1930 with a
brief resurrection in 1936. Felix the Cat
of the shorts. In 1928, Education stopped
did not survive the ups and downs that
producing Felix cartoons and many were
occurred in cinema with the color and
reissued by First National Pictures.
sound revolution and was surpassed by
Copley Pictures distributed it from 1929
the production of other studios, such as
to 1930. It had a brief resurrection in
Disney, as it could not compete with
1936 by Van Beuren Studios, but the
Mickey Mouse.
glory of the old days disappeared during
Felix's origins are questioned. Pat
the cat's brief stint in color and sound.
Sullivan, an Australian-born cartoonist
and film entrepreneur, and American
Felix the Cat, the first image to be
animator Otto Messmer have both broadcast by a television station
claimed to be the creators, and the
evidence appears to support both claims. Many historians, however,
including John Canemaker, claim that it was Sullivan who plagiarized
Messmer. What is certain is that the cat came out of Sullivan's studio, and
cartoons featuring the character enjoyed enormous success in the 1920s.
Paramount Pictures distributed the first films between 1919 and 1921.
Margaret J. Winkler distributed the shorts between 1922 and 1925, the year
Educational Pictures took over distribution.

The consolidation of animation cinema around the world

Cartoon drawing was always on a par with animation techniques.

As early as 1914, the Franco-Russian-Finnish painter Leopold
Survage, Modigliani's roommate and travel companion, convinced
the Gaumont company to finance a series of abstract drawing films,

Kapten Grogg, by Victor

similar to cartoons. The German Hans Richter, perhaps influenced by the former,
made abstract experimental short films, such as Rhythmus 21 (1921). American
animation was concentrated in New York until the late 1920s and early 1930s. The
World War brought down the animation schools and paved the way for American
dominance, a situation that was confirmed after World War II.
Lotte Reiniger was a pioneer in Germany who made animated cartoons using
shadow theatre, opaque characters on white backgrounds, such as The Adventures of
Prince Ahmed (1926), the first surviving animated feature film. (The first animated
feature film was silent and Argentine, El Apóstol (1917) by Quirino Cristiani, a film
that has been lost because the celluloid on which it had been developed was later
used, following the custom of the time, in the manufacture of combs. In Sweden, in
1916, the Kapten Grogg series by Victor Bergdahl was made. The British Anson
Dyer made John Bull's Animated Sketchbook (1920), Three Little Pigs (1922) and
Little Red Riding Hood (1923).
 In 1918, Windsor McCay made what is considered the first animated
documentary, The Sinking of the Lusitania, with 25,000 frames, in a very realistic
style, in which he had to use documentation and imagination to relate a fact in which
there were no photographic images.
In the early decades of the 20th century, films such as Symphonie diagonale
(1921-24) by Vicking Eggeling were made, which used tin cutouts to create rhythmic
relationships between simple geometric shapes and lines through proportion,
numerical relationships and light intensity, from which emerged something like light
music for the eyes. Also worth mentioning is Emak Bakin (1926), by Man Ray, a
Dadaist and later one of the founders of surrealism. Both of them paved a path that,
over time, other filmmakers would follow.
In Japan, from experiments by several cartoonists or visual artists, an interesting
animation movement emerged that began with some experiments in 1914, but it was Seitarou Kitayama
--------------DIBNEY CARTOONS pree ert

KKEY :
in 1917 that Oten Shimokawa made the first 5-minute animated short entitled
Imokawa Mukuzou (The Goalkeeper). Also in 1917, Junichi Kouchi made a short
film entitled Hanahekonai Meitou no Kani (The Brand New Sabre), and Seitarou SOUND CARTOO!
Kitayama made Sarukani Gassen (The War of Monkeys and Crabs). Kitayama
worked in animation until 1918, when he achieved the first worldwide success of G STEAMBOAT
Japanese animation with Momotarou (The Peach Boy). In 1927, Noburu Ofuji made 3 WILLIE
Kujira, The Whale, on semi-transparent paper, the result of which is reminiscent of
Lotte Reiniger's silhouettes. In 1952 he filmed a remake of The Whale. Yasuji
Murata used acetates in The Octopus Bone, 1927, where he recreated a world of
anthropomorphic animals. In 1931 Kenzo
Masaoka made sound film, Chikara to onna no yo no naka, The World of Power and
Women, the first Japanese sound animated film, in which he partially used celluloid,
very expensive in Japan at that time. In 1935, Mitsuyo Seo, one of the country's great
animation pioneers, who had been a cartoonist for Kenzo Masaoka, made several
propaganda films about the Sino-Japanese conflict.
Mickey Mouse was an important turning point in the history of animated film,
from which one of the best eras of animated film developed. Walt Disney and Ub
Iwerks (who designed Mickey) understood the importance of cartoons in cinema
and, despite its difficulty and economic risks, opted for that cinematic path. The
success of Mickey Mouse, the star of Steamboat Willie (1928), led them to
investigate and overcome thousands of difficulties, applying sound and effects of all
kinds, combining animated characters and real actors,
which they achieved with the series of short films that began with Alice in
Wonderland (1923), and which they perfected over time, especially when they
invented the multiplane camera, developed by Iwerks, who was always more
concerned with technical innovations than with stories or animation itself, which
was essential for obtaining a depth of field that served to increase the realism of
cartoon production in the future. It was Snow White and the Seven Dwarfs
(1937), one of the first feature-length animated films, that made the entire world
aware of the possibility of animated films that could compete with any other film.
At the same time, brothers Dave and Max Fleischer were competing on the
screen with Disney, with such popular American comic characters as Betty Boop
and Popeye. In 1916 they began the Out of the Inkwell series, starring the clown
Koko, which ran until 1930. In their feature film, Gulliver's Travels (1939), they
used the rotoscope, a device they invented in 1915, with which they improved
the movements of cartoons and which was later used by many animators.
Rotoscoping allows you to design images from references filmed live and reprint
the film, thus allowing real people and objects to appear together with animated
drawings. Disney used it in Snow White and the Seven Dwarfs and it can be
considered a precursor to the digital motion capture technique. The Fleischers
made educational animations: The Einstein Theory of Relativity (1923) and
Darwin's Theory of Evolution (1925), educational films. In 1924, the Fleischer
brothers created The Song Car-Tunes, which animated popular songs with
subtitles and a ball that allowed the singer to follow the lyrics wherever he went.
In 1930, they introduced the character of Betty Boop in Dizzy Dishes, created by
Grim Natwick, the same person who animated Disney's Snow White. In 1937 Betty Boop
they made Popeye The Sailor meets Sinbad the Sailor, filmed on platforms or sets
whose backgrounds were three-dimensional models on which the characters drawn
on transparent glass were placed. In 1939 they made their first feature film,
Gulliver's Travels and later Mr. Bug goes to Town (1941). In the early 1940s they
made the Superman series, in which they introduced abstractions and a series of
realistic elements.
Paul Terry, a pioneer in almost all animation techniques since 1915, created
his most famous series: Aesop's Film Fables. and especially from the twenties
onwards, at Paramount: Ugly
Ducking (1925), Dinner's Time (1928), the first sound cartoon, Queen Bee (1929), Popeye The Sailor meets
The Bull Fight (1935), The Mouse of Sinbad the Sailor

The crazy bird

Tomorrow (1942). He produced about 1,300 cartoons until 1955, including the
Terrytoons.
Walter Lantz, a comic book author, went on to work as an animator at Bray
Studios and later created a company to develop animated cartoons, first for film
and later for television. One of Walter Lantz's best-known characters is Woody
Woodpecker. In 1924 he produced the Dinky Doodles series. Later with Universal,
he turned Oswald the Lucky Rabbit into a hero. Oswald had been created by
Disney but lost the rights to his commercialization.
In 1925, Willis O'Brien animated three-dimensional figures, using clay
models, using the stop motion technique. He created the special effects for several
important films, the most famous of which was the animated gorilla King Kong,
which, although it appeared to be fifteen metres tall on the big screen, was in fact an
articulated doll with a wingspan of around 45 centimetres. King Kong, 1933, was
directed by Merian C. Cooper and Ernest B. Schoedsack.
New Zealander Len Lye painted directly on celluloid in The Colour Box (1935), a
technique taken up by Norman McLaren, another influential author of experimental
short films. For his part, the Russian Alexander Ptushko used flexible people and
puppets to film The New Gulliver (1936).
Ub Iwerks, separated from Disney, opened his own studio in 1930, adapting
Hans Christian Andersen's tale The Brave Tin Soldier for his Comicolor Cartoons.
Later he moved to Warner (until 1940). He was the creator of Jack and the
Beanstalk (1933), Don Quixote (1934), Aladdin and the Wonderful Lamp (1934),
Humpty Dumpty (1935), The Three Bears (1935), Ali Baba (1936), The Frog Pond
( 1938) and others.
Disney's Silly Symphonies, animated character-driven tunes, have been imitated
on several occasions. In 1930, Warner Brothers Cartoons were born with the short
Sinking in the Bathtub. Harman, Ising and Freleng had been Disney collaborators
and, led by Leon Schlesinger, created the Looney Tunes. In 1934, the first Merry
Melody was made in color by Warner, as the Looney Tunes were in black and white
until 1943. In the 1950s, Warner executives decided to burn almost all of these films,
as they needed storage space. I Haven't Got a Hat, Porky Pig's first hit, within the
Looney Tunes, signed by Fritz Freleng. In 1931, the Merrie Melodies were
created, the first film of which was Lady Play Your Mandolin.
In 1932, the Czech Berthold Bartosch made L'Idée, The Idea, an eminently
political, radical and revolutionary short film, which presents
 the idea as something that cannot be destroyed, despite persecution or
dogmatism. Made with thick brushstrokes and risky shadows, highlighted by the
use of black and white. It lasts half an hour, with a score by Arthur Honegger,
one of the composers of the French musical avant-garde of that time. It
technically uses the principle of frame subtraction animation, which was also
used by Norman McLaren, cut-out, animation with cutouts or cut-out paper, and
sticking the cutouts on different glasses at different distances, which simulate
depth. Bartosch was one of Lotte Reiniger's many collaborators during her
German period. His work has been almost completely lost, except for the short
film L'Idée, as the Nazis destroyed all of his work, which was stored in the
Cinématheque Française before the Second World War.
Oskar Fischinger, a German abstract painter who had to emigrate to the
United States, created the first two parts of the Studie series in 1930 (until 1932),
Puppetoons
using a technique he called absolute animation, where he combined geometry
with music. He made colour films Muratti Marches on and Composition in Blue,
in 1936. He collaborated on the production of Disney's Fantasia, a segment of
which was not included in the final cut, and in the late 1940s he created the famous
Motion Painting I and II, geometric images to animate classical music.
In France, Alexandre Alexeieff, a Russian engraver and decorator, created Une
nuit sur le Mont Chavre with Claire Parker in 1932, inspired by Mussorgsky's
music. A series of pins were animated, photographed frame by frame. The pins, on
fabric, with the light shining at a perfect 45 degrees, the shadows of the pins
created shadow or light, black or white. If the pins were pulled out, they created a Len Lye. Free Radicals Lye
shadow and the board turned black; if the pins were pushed in, the screen turned
white.
In Russia in 1934, Ivan Ivanov-Vano was one of the pioneers of Soviet
animation. The market valued him so much that he became known as "the Disney
of Russia." Most of her themes are based on traditional Russian tales, taking
references from local poetry, embroidery, carvings and architecture. The best-
known works in the West from the early years are Tsar Durandai (1934), The
Ant and the Grasshopper (1936), and The Three Musketeers (1938). Ivan Ivanov-
Vano remained a prestigious conductor until the 1950s. In 1935, Alexander
Ptushko created The New Gulliver, which combines real figures and animated
3D figures (wax dolls). In 1939, he made the puppet film The Golden Key.
Bobe Cannon,, Robin
In 1935, Len Lye, a New Zealander and admirer of Oskar Fischinger, made Hoodlum
Color Box, one of the first masterpieces of animation. He painted directly on the
celluloid, without the need for
 a camera, synchronized with a popular song by Don Baretto. A panel of
animation experts at the 2005 Annecy Festival considered it one of the ten most
important works in the history of animation. His technique would be inherited by
Norman McLaren. Later he made Kaleidoscope (1936), Rainbow Dance (1937)
and Trade Tattoo (1938) using the same system. In Free Radicals Lye (1958), he
used black film on which he would scratch drawings into the emulsion.
In 1936, Tex Avery drew the character of Porky for Warner. He later also
played the character of Duffy Duck and the Gold Diggers, 1937. Robert
Clampett continued with the character of Porky, and created the canary Tweety.
Chuck Jones made his debut with The Night Watchman, 1938, heavily
influenced by Disney. Shortly after, he created the character of Sniffles, a
talkative little mouse. In 1940 he defined the character of Bugs Bunny, together
with Chuck Jones, Bob Clampett, Fritz Freleng and Frank Tashlin. In contrast to
Disney styles, Tex Avery made Red Hot Riding Hood, which begins as a
common version of Little Red Riding Hood until the characters rebel against the
roles they must play, as a revision of the classic tale, with exaggerations that
caused some parts of the film and the ending to be censored. He later made King
Size Canary (1947) and Bad Luck Blackie (1949).
In Spain there were attempts at producing animation, such as those of the
cartoonist Ricardo García López, known as K-Hito, among which Francisca, la
mujer fatale from 1933 stands out, and those of Joaquín Xauradó, a cartoonist
who made his little dog famous and who made two interesting films: Un drama
en la costa and El Rata primero, which he made in collaboration with K-Hito.
In 1943, the Whitney brothers, John and James, called their cinema pure
cinema, linked to the cinematic avant-garde and closer to photography and
movement than the so-called animation cinema. They made the film Five
Abstract Film Exercises. In 1941 they had made Variations, based on the
movements of the soundtracks, and in 1957, the Whitneys achieved the first
analog computer graphics.
George Pal, Hungarian, was the precursor of the films made by Steven
Spielberg and George Lucas. In 1940 he began the Puppetoons series,
commissioned by Paramount, which revolutionized three-dimensional animation
by using the technique of replacing parts (see above).
In 1945, in the United States, a group of cartoonists and creatives separated
from Disney formed the UPA (United Productions of America) determined to
do different things.
They premiered Brotherhood of Man, by Bobe Cannon, and Robin Hoodlum.
Mr Magoo, created by Peter Burns, was one of the stars of the UPA.
«New Zealander Len Lye is an artist who escapes classification within the
avant-garde movements of the beginning of the
Len Lye. The direct
film
last century and who nevertheless participated
in them with his pictorial, sculptural and
cinematographic work. Painting, kinetic
sculptures and animated films were the media
chosen by this "new savage" (fascinated by
primitive and aboriginal art) to capture the
essence of movement.

(From the
Culture Centre
website
Contempo
rary Art
of
Barcelona
)

His 1935 film, A Colour

Box, an advertisement for
cheap packaging, was the first
direct-to-video film projected
before an audience. In Free
Radicals Lye used black film
onto which he would scratch
drawings into the emulsion.
The result is a dancing pattern
of lines and marks, as dramatic
as lightning in the night sky. In
2008, this film was included in
the United States National Film
Registry.
Multiplane Fleischer's initial
Rotoscoped figure
camera rotoscope

Lye experimented with the possibilities of direct cinema

until the end of his life. In various films he used a diverse
range of dyes, stencils, airbrushes, markers, stamps, combs
and surgical instruments to create images and textures on
celluloid. In Color Cry, I would employ the photogram
method combined with various stencils and materials to
create abstract patterns.
 Animation cinema after the Second World War

After the Second World War, there was a great development of animated cinema,
which was fully consolidated with the Disney feature films and the Warner Bros.
short films.
USA

Walt Disney. After the World War, Disney devoted himself to all types of cinema.
Apart from the cartoons that he continued to create, he made

Pinocchio
 documentaries and adventure films with real actors. In times of hardship, Disney decided to economize and begin
production of two much less ambitious films. The first of these, The Reluctant Dragon (1941), combined live
action with three animated shorts. The second was Dumbo (1941). With the materials collected during a tour of
South America, Disney made two feature films: Saludos, Amigos (1943) and The Three Caballeros (1945), Song
of the South (1946), in which real-life characters were mixed with cartoons. Cinderella (1950), Alice in
Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955), which was the first Disney film in
cinemascope, marked new times for Disney. In the first he tried to recreate ancient splendors. The rest are full of
unforgettable moments. Sleeping Beauty (1959) marked the end of another era for Disney studios, as it was the
last film drawn entirely by hand, an enormously expensive process that was replaced in 101 Dalmatians (1961) by
Snow White
a cheaper, though less creative, process called Xeroxed. The company subsequently began producing films with a
wide variety of content. Merlin the Enchanter (1963), Mary Poppins (1964), in which real characters were
interspersed and coexisted with animated ones, and The Jungle Book (1967), with which the studio enjoyed
successes like those of past eras.
United Productions of America (UPA). In 1941, Walt Disney endured an animators' strike that led to the
flight of several of his best cartoonists, including Stephen Bosustow, one of the creators of the UPA, which had
been in operation since 1943, and John Hubley, who disagreed with Disney's ultra-realistic style. Influenced by
the work of Chuck Jones, they began to promote the idea that animation should continue with greater freedom in
Peter Pan the search for new forms of artistic expression. Bosustow prefers a type of drawing that is schematic, very

cartoonish, expressive and far removed from the realistic parameters so appreciated by Disney and those who
remain faithful to him. During World War II, the UPA made propaganda short films, but after the war its future
was uncertain. There was no longer any demand for advertising, and some of its partners left the company.
Columbia Pictures hired UPA as an animation studio and began making cartoons for the general public. His
launch character was Mr. Magoo, an old man whose myopia makes him go through the most complicated
adventures. The members of the UPA wanted to differentiate themselves from the rest of the studios, especially
Disney, Warner and MGM, so in 1951 they made their graphic style more free and personal, seeking more
modern and less conventional stories. They started with Gerald McBoing-Boing, by Robert Cannon, in 1953
they made Unicorn in the Garden, by Bill Hurtz, nominated for an Oscar, and the following year When Magoo
Flew was awarded. In the same year they made The Tell-Tale Heart, an adaptation of Edgar Allan Poe that used
new drawing techniques and styles to delve into the psychological states of the

Fancy

Lady and the

Tramp
 characters. UPA gradually sold its studios to TV, until 1959 when Paul Terry sold Terrytoons to
CBS. The first and last feature film was 1001 Arabian Knights, which closed its doors that year.
Chuck Jones and Friz Freleng were animators, cartoonists, screenwriters, producers and
directors, with their most important works being the Looney Tunes and Merrie Melodies shorts from the
Warner Brothers animation studio. Chuck Jones won an Oscar for his short film The Dot and the Line
(1965) and another honorary award for his work in the film industry. He was one of the first to

to
incorporate the limited animation technique, thus breaking with the fW influence of a more
The Jungle Book
detailed and worked animation by the Disney studio, *8 to 22 adopting a style that would later be known
as "UPA style", which reduced costs although it made the $ much more imperfect (4 drawing. His most
popular creations are Pepé Le Pew and Coyote and the
Road Runner. In 1953, he used the 3-D technique in Lumber Jack Rabbit, the only Warner Bros.
animated short to incorporate the effect. He is considered by many to be a master of characterization and image
coordination. Friz Freleng introduced several of the studio's biggest stars, including Porky Pig, Tweety,
Sylvester the Cat, Sam Bigotes, Speedy Gonzales, and The Pink Panther. He was the head of Warner's Termite
Terrace studio, and even became its most awarded director, winning four Oscars. He was commissioned to create
Unicorn in the sequence at the beginning of the film The Pink Panther. The character became so popular that in 1964,
the Garden with a short film for United Artists, he won an Oscar. In 1957, Chuck Jones and Fritz Freleng made What's
Opera Doc?, which some historians claim is a masterpiece. It is a six-minute summary of The Ring of the
Nibelung in a cartoon that parodies Disney's Fantasia. In 1963, Fritz Freleng brought The Pink Panther to life for
the credits of a Blake Edwards film; it would later be turned into an animated series that would be in full swing
ten years later.
Tex Avery, in 1948, at MGM, working alongside Hanna and Barbera, created such famous characters of
the 1940s and 1950s as Chilly-Willy The Penguin and Droopy The Dog. When MGM's animation department
closed, William Hanna and Joseph Barbera founded Hanna-Barbera Productions, which worked very
successfully for TV. In 1955 they were nominated for an Oscar for the shorts Good Will to Men (1955)
1001 Arabian Knights
and One Droopy Knight (1957). In 1959 they created the Huckleberry Hound series, which quickly took
over the main television slots and was seen all over the world. Influenced by the UPA, they followed
MELODIE LAUGHS
the technique of limited animation, with somewhat stiff figures and very simple backgrounds. They
made over 100 films, and their characters, The Flintstones, Yogi Bear, Huckleberry Hound, Pixie and Dixie, Top
Cat, and many others, became famous throughout the world.

TO WARNER BROS. 0
 Charles M. Schulz. In 1950, the Peanuts series was born, which achieved twenty years of
worldwide success for the animator, who in 1969 began the sequel Charlie Brown and his friends. Bill Melendez
continued the series on TV and made several sequels for film: Charlie Brown Christmas (1965), Charlie Brown
Thanksgiving (1973), among others.
James Whitney, in 1955, following in the footsteps of his brother John, made Yantra. The term
yantra comes from Sanskrit, from the prefix yan, which means to conceive and by antonomasia, mental
conception. A complicated system of optical forms was intended to evoke spiritual ascension. In addition to
Yantra, other works such as; Catalog (1961) by John Whitney or Lapis (196366) by James Whitney, are
Roadrunner
pioneers in the application of the computer
DANG making the images frame by frame.

In 1961, Jordan Belson, a representative of Visual Music, established avant-garde animation based
on the manipulation of lights and continuous shooting. He made Allures (1961), Samadhi (1967), Light
(1973), Fountain of Dreams (1984) and Epilogue (2005) which represent organic abstractions in
perpetual movement, among others, very much in the style of Lye, McLaren and the Whitney brothers.
Canada

Mr. Magoo
The National Film Board of Canada promoted all kinds of avant-garde experiments, which would
make Canada a first-rate power. It highlights the work of one of the leading experimental and abstract
animators of all time: Norman McLaren. Even today, concepts invented by McLaren can be seen in
advertisements and music videos.
France

In 1947, the short film Petit Soldat, by Paul Grimault, consecrated

/ internationally to French animation, winning the top prize at Venice, shared with a Disney short. In
Tweety 1949 a lot was produced
5 for TV, especially Jean Image, illustrator of children's stories, who made several feature films:
Jeannot l'intrepide (1949), The Fabulous Adventures of Baron Fantastic (1979), Aladdin and the
Wonderful Lamp (1985), and famous series such as Joë chez les abeilles (1960). The most interesting
animated feature film was produced in 1950 by Paul Grimault, The Shepherdess and the Chimney
Sweep, which he transformed and expanded in 1979 into The King and the Bird. In 1963 the Russian
Alexandre
6Alexeieff makes Le nez in France, inspired by Gogol. In 1964, the Polish Walerian Borowczyk made
Les Jeux de anges in France.
Czechoslovakia

In the countries of the Soviet bloc, the state intensively promoted animation. This allowed many
animators to work without pressure.
 commercials and create works of immense variety and risk. Jiri Trnka (see box)
was a Czech illustrator, set designer and director of animated films, particularly in
puppet animation. With more than 20 films, including six feature-length films, he
established what was known as the "Czech style" of animation. His work in this
field had an undeniable influence on other filmmakers. Most of his films were
aimed at adult audiences, and many of them were adaptations of literary works by
authors
#Czech or foreigners. Due to the quantity and quality of his films and his great
influence on countless later animators, he was called the Walt Disney of Eastern
The point and the line
Europe. In 1950, Bretislav Pojar made The Marzipan Shack, and in 1953, One
Glass Too Many, a puppet animation against alcohol abuse. Karel Zeman made
Inspiration (1947), King Lavra (1951), The Treasure of Bird Island (1953),
Journey into Prehistory (1955), etc. and in 1958, combining real actors and
animation, he made The Diabolical Invention, inspired by Jules Verne. In 1959,
Baron Munchausen imitated the style of Doré's engravings, in 1977, Historia de
una loca and The Sorcerer's Apprentice, in 1977. A puppet animator, Jan
Svankmajer made The Last Joke (1964), Garden (1968), Dimensions of Dialogue
(1982) and Leonardo's Diary (1988).
Russia

The Pink Panther

Ivan Ivanov-Vano, known as the Soviet Walt Disney, made in 1946, after three
years of work, the first Soviet animated feature film, The Little Humpbacked
Horse, one of the masterpieces of animation. The negatives of the film were lost
and in 1975 Ivanov-Vano made a new version. He adapted some Russian tales:
Snegurochka (1952), The Brave Hare (1955), The Adventure of Burattino (1959)
and many others. In over 50 years of directing animated films, he made interesting
films such as The Snow Maiden, 1953, based on the work of Ostrovsky, and Once
Upon a Time (1963), The seasons, 1964, based on the music of Tchaikovsky, is an
Huckleberry Hound imaginative and colorful interpretation of the landscapes of Russia. But the most
powerful and best crafted of his films is The Battle of Kerzhenets (Secha pri
Kerzhentse), 1971, based on Rimsky-Korsakov's legend of the invisible city of
Kitezh. The film is a fusion of ancient Russian icons, transparent, shiny and
elegantly designed, and the rhythm of music, making excellent use of time and
space and dynamic aspects. Lev Atamanov made Beauty and the Beast (1952) and
The Snow Queen (1957), in a line that could be called neoclassical and that would
notably influence Miyasaki.

Yugoslavia The Zagreb school. «The essential characteristic of the Zagreb School is that we
do not try to imitate others. Our power lies in our imagination and in the ability to
express it through drawing" (Dusan Vukotic). In 1956, with The Playful Robot, by
Dusan Vukotic, the production of the
 A studio from Zagreb, Yugoslavia, which within a few years would gain worldwide prestige for its
priority to the principles of contemporary art and its strategy of reduced animation. In 1961 he made
Surogat, which won the Oscar for Best Animated Short Film in 1961, making it the first non-
American to do so. At the Zagreb School where Vlado Kristl, Aleksandar Marks, Nikola Kostelac and
Boris Kolar also studied.
Poland

Before Jan Lenica and Walerian Borowczyk, animated film was a genre of little value in Poland,
considered solely as entertainment for children and devoid of artistic, ideological and philosophical
aspirations. In 1957, both of them gave consistency, content and art to animated cinema in Once Upon
a Time, through an innovative collage technique and the use of sound in an asynchronous manner and
for satirical purposes. They combine drawing and collage (cut-out stop-motion) with real images,
introduce black humour, surreal gags and a new technique based on dividing the script into scenes. In
1958 they created the surrealist work The House (1958), in which they used a wide variety of styles,
materials and techniques, collages, deformation of movements and animation of objects. Labyrinth
and The Rhinoceros are two of the films by Jan Lenica, who worked for three years to make Adam II.
Borowczyk contributed the disturbing Theatre by M. Mme Kabal (1967) on the dehumanization of the
Samadhi modern world. Both left the country, one, Lenica, to settle in Germany and the other, Borowczyk, in
France. Witold Giersz is one of the great figures of Polish animated cinema, especially miniatures
and even oil painting, with The Secret of the Old Castle (1956); Neon Epigram (1959); The Little
West (1960); The Wait (1962), awarded in Cannes, Moscow and Edinburgh. Daniel Szczechura is the
revelation from the Se-Ma-For studio and the workshop of the Academy of Fine Arts in Warsaw. He
directed Conflict (1961), First, Second and Third (1964), In the
forest (1971), Sand (1973), The
Problem (1977), Fatamorgana I and II (1981-1983), History of a Bad Time (1997).
Italy
Little Soldier

Francesco Guido, pseudonym Giba, created the first Italian animated short of the post-war period
(L'ultimo sciuscia). Later, he would alternate his work as an animator with his work as a cartoonist:
Menenio ei petrolieri (1961), Le Papillon
street (1966), Castle in he (1962), Il racconto della giungla (1973), Il nano
e la strega (1974), Scandalosa Gilda (1984), Kim (1994), etc. 1960. I paladini di Francia is released,
by Giulio Gianini and Emanuele Luzzati, the main puppet and marionette animators in Italy. Both
directors would be nominated for an Oscar for La gazza ladra (1964) and Pulcinella (1973). In 1949,
the first two Italian animated feature films were presented at the Venice Film Festival: I fratelli

The Battle of
Kerzhenets
 Dynamite (by Nino) Pagot) and The Rose of Baghdad, by Anton
Domeneghini.(Information of Looks
audiovisualshttp://www.eictv.co.cu/miradas)
Japan

In 1947, Kon Ichikawa made an adaptation of the kabuki play A Girl in a Dojo Temple, using puppets. In
1959, Osamu Tezuka worked on the feature film Western Diary, modernizing manga and turning it into a mass
phenomenon. He was a pioneer of television animation, for which he made the first animated series seen in Japan.
Surogat In addition to Astro Boy (introduced in 1961), he was the creator, in the sixties and seventies, of Kimba, the lion
white, jungle
Taitei, Blackjack, Memory, Broken Down Film, Cyborg 009, The Firebird and many others. In 1963, the surrealist
and experimental animation of the Japanese Yoji Kuri became popular: Locus, Face, Amor, Discovery of Zero,
The Chair, are shorts by this year, followed by Samurai (1965), The
Eggs (1966), Flower (1967), Imagination (1969) and Midnight Parasite (1977). Information from Audiovisual
Views (http://www.eictv.co.cu/miradas)
Spain

Jan Lenica In 1945, Garbancito de la Mancha was made, directed by Arturo Moreno, the first purely Spanish
and Walerian
animated feature film, made in the midst of the post-war period and a period of hardship and scarcity,
Borowczyk
in a traditional way, which is why it was a great event for children throughout the country. Garbancito,
with a quixotic background, fights against the forces of evil embodied in Aunt Pelocha and the giant
Caramanca, to save his goat Peregrina and his friends Quiriqui and Chirili. The adventures continued
in 1948 with Alegres Vacaciones, directed by Arturo Moreno and directed by José María Blay. In
Spanish animation, La familia Telerín was born, by Juan Luis Moro, who would make La calabaza
Ruperta in 1972, from the television program 1, 2, 3.

Daniel Szczechura
Norman McLaren and the National Film Board of Canada
See McLaren

Norman McLaren (1914-1987) was a Scottish animator and film director best known for his
work with the National Film Board of Canada. He was a great
admirer of Eisenstein's films. He soon realized the importance of
the seventh art as a means of expression and began to innovate.

Nino Pagot
 His work as a cameraman in 1936 during the Spanish Civil War was so hard that, just before the
Astro Boy
Second World War, he emigrated to the United States and in 1941
to Canada, where he joined the National Film Board to open an
animation studio and teach Canadian animators.
He is famous for his experiments with image and sound,
drawing directly onto the film, including the soundtrack, or scraping
the celluloid to provoke new optical sounds, exploring aspects that
later became of great importance to the film industry. Many of the
The Telerin family Neighbours
tricks, effects and animation styles that we are used to seeing today,
both in film and on television, were the result of experiments he
carried out throughout his life: painting on celluloid, pixilation,
animation with still photos of human beings, slow motion,
stereoscopic film, etc. Many of them were dedicated to showing the
metamorphoses of a figure over time.
In 1933, he created the first avant-garde animations within the
cartoon unit formed by Grierson in London: Hand. Painted
Abstraction (1933), Camera Makes Whoopee (1935), Color
Cocktail (1936). In 1939 he made the abstract Love on the Wing, an
advertisement for airmail, and in 1939, Allegro.
Step of two
Technicians at the Film Board of Canada built him a special
Ruperta the pumpkin
camera and projector system so he could experiment without
limitations. Dollar Dance and Hen Hop (1943). In 1951, he made
the first three-dimensional films: Around is around (1952) and Now
is the time (1952). He animated everything he could, a chair in A
chairy tale (1958) and animated human beings, in his famous
technique that he called Pixillation, in Neighbors (winner of the
Oscar for animation in 1953) and in Canon, 1965, as well as making
complete films by scraping and painting on celluloid like Blinkity

The Czech style

Blank (1955) and Caprice in colors. He researched dance movements and left masterpieces with the
participation of outstanding dancers, Adagio (1972), Pas de deux
(1968) and Narciso (1983), his last film, in which he manipulated
time, resulting in images of incredible beauty and an unknown
dimension of ballet.
René Jodoin founded the French section of the National Film
Board in 1966 and headed it until 1977. There he developed a very
interesting approach to animation cinema, dedicated particularly to
innovation, experimental proposals and educational productions. He
René Jodoin with
worked in the early days, a time of artisanal work, with angles, lines,
Norman McLaren
curves or perfect sides that had to be extremely scrupulous. Jodoin filming Spheres, 1969
co-directed, with Norman McLaren, Alouette (1944) and Spheres
(1969); these were his first steps in integrating common criteria and
styles. Jodoin interpreted McLaren's social intention like no one
else, taking on a certain responsibility in citizen education through
artistic production. One of his most characteristic works is Notes on
a triangle (1966)

In 1969, Caroline Leaf, an American based at the National Film

Board, became a master of sand animation with Sand-Or Peter and
the Wolf. Notes on a triangle
1966
 Jiri Trnka and the Czech style

Jiri Trnka (1912-1969) was a Czech illustrator, set

designer and animated film director. In addition to his
extensive career as an illustrator, especially of children's
books, he is best known for his work in puppet
animation, which he began in 1946.
Although he did not directly animate the puppets (he
wrote the scripts and designed them and sometimes
manufactured them and had a high-quality technical
team), his work in this field had an undeniable influence
on other filmmakers. Most of his films were aimed at
adult audiences, and many of them were adaptations of
literary works by Czech or foreign authors.
Throughout his career he experimented with different
animation techniques, from traditional cartoons, in his
first shorts, to shadow puppet animation. However, his
preferred method, and the one that gave him worldwide
fame, was stop-motion animation with puppets. Trnka
did not alter the physiognomy of his dolls but preferred
to express their emotions and feelings through changes
in framing and lighting.
 He formed his own puppet theatre in 1936, and after
the war he founded an animation studio, where he made
several short celluloid cartoon films: Zasadil dedek repu
(Grandfather Planted a Beet, 1945) and Zvírátka a
petrovstí (Animals and the Bandits, 1946), both
cartoons. For the latter he won an award at the first
Cannes Film Festival.
He soon moved on to puppet animation, which he
began experimenting with in 1946. His first feature film
was Spalicek (The Czech Year, 1947) based on a book
illustrated by Mikoláš Aleš. It has won awards at
numerous international festivals, including the Venice
Film Festival. From then on, he began receiving state
subsidies.
Other feature films followed, such as Cisaruv slavík
(The Emperor's Nightingale, 1949), based on a tale by
Hans Christian Andersen, which also featured live
actors, and a few short films in 1949, with animated
puppets, such as Román s basou (The Story of a Double
Bass), adapted from a tale by Anton Chekhov, Certuv
mlýn (The Devil's Mill) and Arie prerie (Song of the
Meadow).
In 1950 he made his third animated feature film with
puppets, Bajaja (Prince Bayaya), based on two stories by the writer Bozena Nemcová, Old Czech
Legends (1953), Brave Soldier Schweik (1954), A Midsummer Night's Dream (1959, fiction made
with puppets), and The Hand (1965).
 He returned to cartoons with O zlaté rybce (The
Golden Fish, 1951), and animated shadow puppets
in Dva mrazíci (1953). In Veselý Circus (The
Merry Circus, 1951) he used stop-motion technique
with two-dimensional paper cutouts.
In 1953 he released Staré povesti ceské (Old
Czech Legends), his fourth full-length film, which
tells the story of the Czech people.
In 1955 he adapted Jaroslav Hašek's anti-war
satire Dobrý voják Svejk (The Good Soldier Švejk)
for puppet animation, for which he received several
festival awards.
His last feature film was in 1959, Sen noci
svatojanske (A Midsummer Night's Dream), an
adaptation of one of William Shakespeare's works,
to which he gave a balletic feel. The puppets were
made from a more flexible plastic and are
recognized as one of Trnka's masterpieces.
His artistic testament is considered to be the
short film Ruka (The Hand, 1965), the last one shot
by the filmmaker, a kind of rabid hymn to creative
freedom.
1950: Jiri Trnka, the Czech master of animation
with puppets, marionettes and three-dimensional
dolls, made Prince Bayaya (1950).
 Chickpea from La Mancha.
Spanish postwar cinema

Directed by Arturo Moreno and produced in the

Barcelona studios of Balet and Blay in 1945, it is
the first purely Spanish animated feature film, made
in the midst of the post-war period and a period of
hardship and scarcity, in a traditional way, which is
why it was a real event for children throughout the
country (it is the first film I ever saw in my life).
The script is based on the story of a well-known
Falangist, Jaime Parera, and the story has a notable
subliminal message in favour of Francoism (the
harangues against the evil ones are always made in
the name of God, in a language very similar to that
of the regime).
However, the fact that it was made represents a
milestone in animation drawing and in the balance
with sound, unthinkable with the means available in
post-war Spain. Among cartoonists, animators and
technicians, there were several who were repressed
by Franco's regime for their suspicions of
republicanism.
Garbancito, with a quixotic background, fights
against the forces of evil embodied in Aunt Pelocha
and the giant Caramanca, to save his goat Peregrina
and his friends Quiriqui and Chirili. The adventures
continued in 1948 with Alegres
Vacation, directed by Arturo Moreno
and directed by José María Blay.
 Dalí with Disney in Destino, 1946

In 1945, Dalí met Walt Disney and signed a contract for a short animated film
of a few minutes duration that was to combine ballet and cartoons. The project,
entitled Destino, was then cut short by various problems, including the economic
crisis that followed the end of World War II. It has been recently rescued and
completed with the hundreds of scenes, drawings and paintings preserved,
following the artist's instructions and sketches.
It is, basically, a love story between Dahlia and Chronos, which uses Dali's
images and symbolism to investigate the nature of human relationships.
Dalí adapted the technique of automatic writing to painting, a form of creation
particularly appropriate for animation, as it allows for freely mixing and
assembling images coming directly from the unconscious. The film mixes dancers,
baseball players, ants turned into bicycles, giant turtles and the Tower of Babel; it
does not follow a logical plot, and leaves much of the plot in the hands of the
viewer's imagination. Dalí always said: "If you understand it, I have failed."
 Animation until 1980

The life of animated films continued, despite the influence of television, moving
to other distribution channels, and animated short films disappeared from cinemas,
except for the large Disney feature films, which until the last decade of the 20th
century, was reluctant to leave cinemas for other distribution channels such as video
or later DVD. However, animated films prospered, became more technical and
specialized, mainly in film festivals and on television. In the United States, Hanna-
Barbera dominated television animation and Disney dominated film animation.
Hanna-Barbera. William Hanna and Joseph Barbera, both sons of Lebanese
immigrants, first worked together at Metro-Goldwyn-Mayer's animation studio in
1939, when Tom and Jerry appeared. Limited animation, popularized by UPA (United
Productions of America), was introduced by Hanna-Barbera as a method of reducing
production costs. This resulted in a reduction in the quality of the animation. They
specialized in television animation for which they won eight Oscars. His most
characteristic animated series are Loopy De Loop, The Huckleberry Hound Show, The
Yogi Bear Show, Tiro Loco McGraw, Top Cat, Jonny Quest, The Jetsons, and
especially The Flintstones. In 1969, they released one of their most popular
characters: Scooby Doo, which would become one of the most watched television
programs (ABC) in history.
Ralph Bakshi, The Lord of the Rings
Filmation, an American company, produced television series based on famous
comic book and literary characters: Flash Gordon, Tarzan, Zorro, Batman and Robin,
among others.
Ralph Bakshi. Through satire and political commentary, Ralph Bakshi, with his
first films belonging to the underground movement, paved the way for animation for
adults, in which he was a pioneer, sometimes with the technique of rotoscoping,
through which he gave quality in movements and drawing. He made the first
adaptation of The Lord of the Rings (1978), using rotoscoping techniques, and films
such as Cool World (1993) that mixes real images with cartoons. He also created adult
animations such as Fritz the Cat (1972) based on the character of Robert Crumb.
 The industries of Eastern Europe and the USSR became the most powerful in the
world: production was enormous in volume and variety, from children's television
series to the most avant-garde and radical artistic short films. In 1965, cartoonist
Nedeljko Dragic directed his first short film, Elegy, an exploration of an absurd
world, full of humor, within the so-called Zagreb School. Dragic followed this up
with the shorts Tamer of Wild Horses (1966), Striptease (1969), The Door (1970)
and Tup Tup, from 1972, which earned an Oscar nomination. Among the many
important artists, the most famous is the Czech Jan Svankmajer, who works with
puppets, using the stopmotion technique. However, he has also used real actors,
machines, clay figures, antique dolls, animal skeletons and many other things. It
creates a nightmare atmosphere. Some of his feature films are Neco z Alenky (Alice,
1988, based on Lewis Carroll's Alice in Wonderland), Faust (Faust, 1994) and more
recently Otesánek (2000, and Sílení (2005). He has greatly influenced current
filmmakers such as Tim Burton and Terry Gilliam.
In Japan, Osamu Tezuka is worth mentioning, a pioneer of contemporary
Japanese comics (manga) and Japanese cartoons (anime). He created his own
company, Mushi Productions, and with it Japan's first animated series: Tetsuwan
Atom (Astroboy). Later Janguru Taitei (Kimba the White Lion), which Disney would
later film under the name The Lion King, and Ribbon no Kishi (The Princess
Knight).
In Western Europe, films were made, but their achievements were more isolated:
films such as George Dunning's Yellow Submarine (1968), an animated feature film
whose main characters represented The Beatles. The original aesthetics of the
drawings, with their colour and aesthetics somewhere between naïve and
psychedelic, emanated from the style and strokes of Heinz Edelmann, a well-
known German illustrator and designer. He pays tribute to painters such as Dali's
soft watches, Magritte's bowler hats and apples, and to film characters such as
Frankenstein and Marilyn Monroe. In France, the Russian Ivan Ivanov-Vano
continued with the release of You Can, You Can't, followed by The Legend of the
Wicked Giant (1968), Ave Maria (1972), The Magic Lake (1979) and The Fable of
Tsar Saltan (1984), which closes his filmography. René Goscinny is
inspired by the famous French comic strip Asterix the Gaul to conceive television
series, feature films for cinema and video and DVD compilations.
Bruno Bozzetto is a famous Italian animator who has created many short films,
mainly of a political or satirical nature. In 1965 he made his first animated feature
film, West and Soda, a parody of American westerns. In 1968 he made VIP, mio
fratello superuomo, in which he parodied the supermen genre. His most famous
character is Signor Rossi, the protagonist of seven animated short films, and three
movies were made about him: Mr. Rossi Seeks Happiness (1976), Mr. Rossi's Dream
(1977), and Mr. Rossi's Holiday (1977). His best-known work is Allegro non troppo,
1976, a montage based on pieces of his shorts, applied to classical music in the
manner of Disney's Fantasia. In 2002 he made Mammuk, an animated film about
cinema in prehistoric times. He is currently making satirical short films using the
flash technique.
René Laloux worked jointly as a director of animated films and as a painter, in an
overflowing universe in which any fantasy was possible. In 1960, he made his first
animated film at Paul Grimault's studio, Les dents du singe (The Monkey's Teeth), a
short film written and drawn by a group of patients at the Cour Cheverny psychiatric
clinic, of which he was director. With the graphic designer Roland Topor he made
three films: Les temps morts (Dead Time, 1964), Les escargots (The Snails, 1965),
and La planète sauvage (Wild Planet, 1973), with which he won the Grand Prix at the
Cannes Film Festival. With comic book artist Moebius he made Les maîtres du temps
(The Masters of Time, 1982), and with Philippe Caza, the short film Comment Wang
Fo fut sauvé (How Wan-Fo was Saved, 1988) and the feature film Gandahar (Hunt for
Gandahar, 1988). In 1979, The King and the Bird, Paul Grimault, made one of the
best animated films of all time, inspired by Andersen.
In Canadian animation cinema, also within the continuation of the activities of the
National Film Board of Canada and Norman McLaren, in 1970, Frederic Back,
one of the legends of Canadian animation cinema, achieved his first great
international success with Abracadabra (1970), followed by Inon ou la conquete du
feu (1971), La creation des oiseaux (1973), Illusion (1974), Tout
Rien (1979, nominated for an Oscar) and Crash (1983, which was selected as one of
the six masterpieces of animation at the Olympiad of this discipline, held in Los
Angeles. Caroline Leaf achieved international fame with The Street, painted on glass.
He later directed The Metamorphosis of Mr. Samsa (1977) and Le tigre et le renard
(1986). (Obtained from Audiovisual Views http://www.eictv.co.cu/miradas)

In 1975, Garri Bardin, a Russian puppet theatre director, made The End of
Heaven. In the 1980s he made three-dimensional animation of objects, puppets and
marionettes made of various materials: The Gray Wolf and Little Red Riding Hood
(1990). In 1980, Yuri Norstein presented Tale of Tales, considered one of the best
animated films ever made.

In Spain, The Wizard of Dreams was made in 1965, starring the Telerín family, by
Francisco Maciá, who together with Cruz Delgado and José Luis Moro became the
mainstays of Spanish animation, along with Maite Ruiz de Austri, the author of The
Return of the North Wind (1995) and The Legend of the Unicorn (2001).

John
Whitney (1917- 1995/USA). He

John Whitney, the

beginnings of
computer animation

is one of the most prominent

pioneers of computer animation
and the father of generative art.
His work ranged from the
optical, analogue and digital realms. His interest in technique and his artistic talent led
him to
 use for creative purposes some
mechanisms of analog
computers created for military
purposes and build their own
machine, from an anti-aircraft
cannon from the Second World
War, precursor of

motioncontrol, to develop your

graphics and animations, both in
the experimental and commercial
fields. Whether in his early
experiments, carried out by hand
by John and his brother James, who
was a painter, or in his later ones,
carried out separately, using the
optical printer and early
computers, colour, geometric
shapes and music make up some of
the best abstract psychedelic films.
 His work, in his own
words, consists of "evoking
the most explicit emotions in
a direct way, through simple
formal configurations of
time tones."
In the 1960s he founded
Motion Graphics Inc.,
dedicated to making
audiovisual productions
using an analog computer,
and in the 1980s he was
already working in digital
format, creating Whitney-
Reed RDTD, a software that
combined computer graphics
through an audio input.
He directed the opening
sequence of Vertigo (From
Among the Dead), for Alfred
Hitchcock, alongside
designer Saul Bass.
Whitney argued that
"technological innovation
will provide us with the
means to
 develop a new art for the eye and ear. Computers are the only instrument that
allows us to create music related to moving colors and graphics, and although
their complementarity is still experimental, great and promising consequences
can be foreseen.

Animation cinema in the West in recent decades

Animation cinema has experienced unprecedented development. The fall of the

Iron Curtain also meant that many animators from Eastern European countries
travelled all over the world to contribute their experience.
Disney continued its moments of splendor in the USA, with films such as The
Little Mermaid (1989, by John Musker and Ron Clements) and Beauty and the
Beast (1991), by Trousdale and Wise, and its decline, at the same time as a small
entity, Pixar, by John Lasseter, grew, which from being an unknown experimental
computer graphics company in the 80s became the most important animation
producer in the world, with films as well received as Toy Story, A Bug's Life,
Monsters Inc., etc. In 1991 Pixar and Disney joined forces and made several feature
films together. In 2004, Pixar and Disney Studios broke ties, until January 2006,
when Disney acquired Pixar Animation Studios and gave control of its animation
studio to Pixar's creative directors.
 In 1988, Canadian director Frederic Back made L'Homme qui plantait des
arbres, which won numerous international awards and the Oscar for best animated
short film of the year; he then made Le Fleuve aux grandes eaux (1993), which
received the Grand Prize at the Annecy Festival and was also nominated for an
Oscar.
Brad Bird, an animator trained on The Simpsons, made The Iron Giant in 1999,
a film that is on par with the best animated films. Set in the midst of Cold War
paranoia, it tells the story of a boy who befriends a robot from space, a tender tale
based on a story that poet Ted Hughes wrote to console his children after the death
of their mother. It is an independent film made with few resources, as is the case
with animated films.
The Nightmare Before Christmas (Tim Burton's The Nightmare Before
Christmas, 1993) by Henry Selick, is based on a poem by Tim Burton, who had
worked with Disney. It was produced by himself, it is made with latex dolls and has
all the characteristic elements of Burton's films. The script and the rights had been in
the hands of Disney for years, so Burton returned to the company to be able to make
it. Although it had poor box office results and was heavily criticized at the time, it is
now a cult film. Later, in 2005 and using the same system, he made Tim Burton's
Corpse Bride. Burton's style is Gothic influenced, full of romance and fantasy.
Sometimes they recount the experiences of crippled characters, freaks, beings
excluded from society or popular figures who fail to feel in harmony with their
social status. He is currently working on Alice in Wonderland, an adaptation of the
children's novel that will feature 3-D and Performance Capture techniques in its
filming, and his next project will be a remake of his short film, Frankenweenie,
which will be adapted into a 3-D film accompanied by the stop-motion technique.
Bill Plympton made several short films and two feature films of some interest, I
married a strange person! (1997) and Mutant aliens (2001). Bill Plympton is a
frenetic comedian who draws in a very artisanal way, with great expressiveness and
surrealist overtones that are quite tough and mischievous, with strong scenes of sex
and violence.
 In France, Michel Ocelot has paved the way for a growing number of films of
remarkable ambition and quality. After working with Disney, which did not
appeal to him, he tried various styles. The Three Inventors (1980) is a feature film
made with cut-out white paper and cake doilies. Her childhood in Guinea, Africa,
was reflected in Kirikou the Witch (1998) and Kirikou and the Wild Beasts (2005),
which brought her fame. He also made Princes et princesses (1999) and Azur &
Asmar (2004), set in the East, about immigration and integration between
cultures.
Sylvain Chomet is a French animator influenced by Svankmajer's surrealism
and Walt Disney's drawings. He met Didier Brunner, the producer of The Triplets
of Belleville, with whom he worked from Canada. In 1995 he directed La Vieille
Dame et les Pigeons with Nicolas de Crécy, for which he received several awards
and was nominated for an Oscar and a César. In 2002 he directed Leon La Came
and later continued with the production of The Triplets of Belleville. His style is
more influenced by the camera than by animation, and is based on mime and
character interpretation.
Pascal Morelli, although born in Paris, worked for many years as an animator
in Los Angeles and Tokyo and worked on storyboards for feature films. In 1994,
he directed the animated series The busy world of Richard Scarry for Paramount,
Arsene Lupin for France Animation, and Calamity Jane for Warner Bros-Kayenta.
An admirer of Hugo Pratt, he made Corto Maltesse: La cour secrète des Arcanes
in 2002.
In the UK, the production company Aardman Animations (mainly dedicated to
claymation) became popular on both sides of the Atlantic with its short films
(especially Nick Park's Wallace and Gromit series). Nick Park, a British actor,
created the claymation animated characters Wallace and Gromit, including
Wallace and Gromit: The Curse of the Were-Rabbit (2005), and has collaborated
on several Oscar-winning Hollywood projects. In 2000 he directed Chicken Run.
Following the tradition of puppet animation, Czech director Jan Werich
created the feature film Fimfárum (2002), a humorous moral tale about human
life, which brings together five stories from several well-known books, funny
parodies of the destiny of human beings. Werich influenced several Czech
animators, Petr Poš and Martin Velíšek.
 Among Cuban animators, Juan
Padrón is a comic book artist who
began working at the ICAIC (Cuban
Institute of Cinematographic Art and
Industries) in 1974 as a cartoon
director. He created the animated
series Filminuto and Quinoscopio,
the latter in collaboration with the
Argentine comedian Quino, creator
of Mafalda. His first feature film, in
1979, was Elpidio Valdés and the
second, Vampires in Havana, in
1985.

Japanese animation in recent times

After Osamu Tezuka, Japanese anime has become the most prolific industry on
the planet, becoming popular all over the world. There are countless television series,
and cinema, television and comics always go hand in hand, in either of their two
facets: "shojo manga", or romantic stories for a female audience, and "mecha", or
robot stories, usually filled with scenes of fighting and devastation. It is common that
when a company develops a new line of comics (the so-called manga), it has in mind
its adaptation to cartoons (anime), which will be broadcast as a television series, sold
on video or made into a feature film. and remain the main attraction for millions of
fans. The strength, after a few years of inactivity in Japanese cinema, came from the
hand of Nausicaa of the Valley of the Wind by Hayao
Miyazaki and Akira (1998) by Katsuhiro Otomo, without forgetting the
independent animator Koji Yamamura, who combines clay sculpture with three-
dimensional figures, photography, crayon and multimedia, mixing techniques and
trends such as pointillism and minimalism, and who has achieved great recognition
in the West, nor Akira Toriyama, responsible for the fashion of manga and anime
with the production Dragonball (1986-1989). To bring Osamu Tezuka's comic strip
Metropolis to animated form, two directors, Rintaro and Katsuhiro Otomo, teamed
up to create an adult science fiction tale that features high-tech urban baroque style.
Anime is generally characterized, although there are works of greater complexity,
by the simplicity of its lines, the linear narrative structure and a technology based on
the economy of images, which makes the production process relatively fast, making
them cheap products in international
markets. There have been important co-productions for television with Western
countries, such as Heidi (1974), Vickie the Viking (1974-1975) and The Adventures
of Maya the Bee (1975-1976), with the German company Bastei Verlag, Ulysses 31
(1988) with the French studio of Jean Chalopin and The Adventures of Sherlock
Holmes (1984-1985) with Radiotelevisión Italiana (RAI).

Hayao Miyazaki (1941) is a Japanese illustrator, cartoonist and animator.

In his early years as an animator he collaborated with Isao Takahata on the
anime Heidi and Marco and participated in the play Anne of Green Gables. In

1978 he directed his first series,

Conan the Future Boy, and in
1979 his first film, The Castle
of Cagliostro.
Most of his work has been
focused on children. His work
deals with content issues, with
anti-war messages, or
addressing complex issues such
as man and nature,
individualism or responsibility,
which has earned him the
public recognition from the
West and from specialists.
She confessed to being an
environmentalist, pacifist and
feminist.
The journey of
Chihiro (Sen to Chihiro no
Kamikakushi, 2001), received
the Golden Bear at the
Berlinale 2002, the Oscar for
best animated film in 2002
and recognition for her career
at the International Film
Festival of
Venice. Howl's Moving
Castle was nominated for the
2005 Oscar for Best
Animated Feature Film.
Other characteristic works are
Nausicaä of the Valley of the
Wind (Kaze no tani no
Naushika, 1984), and
Princess Mononoke
(Mononoke Hime, 1997). His
latest work, Ponyo on the Cliff
(2008), is one of the most
passionate love stories in recent
contemporary cinema.
 The path of current digital animation cinema

Since the last decade of the 20th century, the great change that animation cinema
has undergone is due to the inclusion of computers in the technical and creative
process of films. The first sequence in which the computer was used to create a design
and atmosphere that gave the idea that the camera was moving in all directions was in
1991, at the ball in Beauty and the Beast. Since then, digital technology has fully
entered the making of animated films, making the work of designers and creatives
easier and almost completely ending traditional animation.
Toy Story, the first film made entirely by computer, was produced by Disney and
directed by the specialist company Pixar in 1995, and was a resounding commercial
success that opened up a whole world of creative possibilities.
Antz (1998), the second computer-generated film, was made at Dreamworks
Studios, founded by Steven Spielberg and former Disney animation chief Jeffrey
Katzenberg. This film competed with Disney's dominance and laid the groundwork
for new content in animated film.
Cartoons have been competing in recent decades between these major studios: on
the one hand Disney-Pixar (which have merged and split up), with films such as Toy
Story 2, A Bug's Life, Monsters Inc. and Finding Nemo, which won the Oscar for best
animated film in March of this year, and on the other hand Dreamworks, with box
office hits such as Shrek and Shrek 2, which has become the highest-grossing
animated film in history.
Meanwhile, other studios have begun their careers in animated cartoons: Fox, Ice
Age and its sequels, Columbia, with Final Fantasy, Paramount, Jimmy Neutron and
Warner, The Polar Express, by Robert Zemeckis.
In Spain, the Galician company Dygra Films made its first film, El bosque
animado, a feature film based on the novel by Wenceslao Fernández Flores.
Following them, as seen elsewhere on this page, other producers have made bets on
quality animated films, made by excellent professionals, which clearly compete in
quality and technology with products from other countries.
 Dreamworks.
DreamWorks Pictures (SKG)

SKG, from the initials of its

promoters, Dreamworks.
DreamWorks Pictures, translated
into Spanish as "The Factory of
Dreams", is a film studio founded
in 1994 by Steven Spielberg, David
Geffen and Jeffrey Katzenberg.
Spielberg's dream failed and he
sold his company to Paramount,
which has made numerous fiction
films, some of them highly
successful, such as Gladiator,
Saving Private Ryan and American
Beauty.
In October 2008, DreamWorks
agreed to end its ties with
Paramount Pictures and re-
established itself as an independent
company with financial backing
from an Indian group, RBE,
continuing to produce its animated films.
Antz (1998), The Prince of Egypt, Chicken Run: Escape from the Farm, Joseph:
King of Dreams and The Road to El Dorado in the
2000. Shrek (2001), Spirit: Stallion
of the
Cimarron (2002), Sinbad: Legend
of the Seven Seas (2003), Shrek 2,
Ghost in the Shell 2: Innocence,
The Shark Scarer in
2004, Madagascar and Wallace
and Gromit: The Curse of the
Were-Rabbit in
2005, Over the Hedge, Ratonpolis
in 2006, Shrek III and Bee Movie
in
2007, Madagascar 2: Escape from
Africa and Kung Fu Panda in
2008, Monsters vs. Aliens and
Crood Awakening in 2009 and
How to Train Your Dragon, Shrek
Goes Fourth, and The Walking
Dead are planned for release in
2010.
2011 Kung Fu Panda 2:
Pandamonium, Puss in Boots: The
Story of an Ogre Killer,
Madagascar 3 and for 2013, Shrek
5

Pixar/Disney

Pixar Animation Studios is a 3D computer animation company located in

California. He has won 7 Academy
Awards for his short films, feature films
and technical achievements.
 After Toy Story, 1995, the first
commercial film entirely made by
computer in 3D, it has achieved by its
own system
rendering (Render Man), high quality.
It was directed by John Lasseter, a
former employee of Walt Disney, and
received, in addition to other Oscars, a
special honorary Oscar for being the
first computer-animated film in history.
With Monsters, Inc. (considered by many to be Pixar's best film to date), he
transformed perfection into images. In 2004, Pixar and Disney Studios broke ties,
which were restored in 2006 when Disney bought Pixar, making Pixar a wholly
owned subsidiary of Disney.
Feature films he has made: 1995, Toy Story, 1998, A Bug's Life, 1999, Toy Story
2, 2001, Monsters, Inc., 2003, Finding Nemo, 2004, The Incredibles, 2006, Cars,
2007, Ratatouille, 2008, WALL·E, 2009, Up. Worthy of note is For The Birds
(2000), Oscar for best animated short.
 The Spanish cartoon industry

I have spoken above about the film Garbancito de La Mancha (1945), made
in times of economic hardship. In post-war Spanish cinema there have always
been excellent animators, such as José Luís Moro, for example, who created
characters for advertising and television, responsible, together with his brother
Santiago, for the revival of cartoons in Spain in the late 1940s; and since he
founded Estudios Moro in 1955, together with Movierecord, also for animated
advertising for cinema and television. Moro Studios has won three Cannes
Palme d'Ors, two Venice trophies and more than one hundred international
advertising awards for five consecutive years. But their immense popularity is
due to La familia Telerín and its legendary commercial Vamos a la cama,
recognised as one of the greatest milestones of Spanish television.
Cruz Delgado was an illustrator of children's comics and carried out his own
experiments in the field of animation. He worked at Estudios Moro and
Belvision in Brussels. In Spain in 1963 he founded a production company
dedicated exclusively to the production of animated films, the first of which was
the short film entitled Puss in Boots, which won an award at the Gijón
International Film Festival in 1964 and in Gottwaldov (Czechoslovakia) in 1965.
In 1968, for Spanish Television, he made a series of thirteen episodes about his
character "Molecule." He made several feature films, Magical Adventure, 1973,
The Attic of Fantasy, 1978, with the illustrator José Ramón Sánchez, Gulliver's
Travels, 1983, The Four Musicians of Bremen, 1988. However, his main
contribution to animated film was the 39-episode television series co-produced
in 1978 with José Javier Romagosa based on Miguel de Cervantes' work Don
Quixote de La Mancha.
We can add to the list two films shot in Catalonia, Peraustrinia 2004 (1989),
by Ángel García, an ingenious film about how calm but also boring a life can be
without the magic touch of chance, and Despertaferro, el grito del fuego (1990),
by Jordi Amorós, about the odyssey of Llúria, a twelve-year-old boy fascinated
by the history of the Almogávares, and two others shot in the Basque Country,
La leyenda del viento del norte (1992), by Carlos
Varela and Maite Ruiz de Austri, the adventures of two twins who live in the
whaling town of San Juan, and The Return of the North Wind (1993), by Maite
Ruiz de Austri, with the same characters as the previous one and similar
adventures.
The future is promising for creators working and researching digital cinema,
which is in growing demand. They are films of very good technical quality,
made by a new generation of animators. From The Animated Forest (2001), by
Ángel de la Cruz and Manolo Gómez, to Pérez, the Mouse of Your Dreams
(2006), a Spanish-Argentine co-production by Juan Pablo Buscarini, Nocturna
(2007), by Adrià García; and El Cid, the Legend (2003) and Donkey Xote (2007),
both by José Pozo.
Dygra Films is a computer animation studio founded in 1987, located in La
Coruña, Spain, as a graphic design studio. His first computer-generated feature
film was The Animated Forest, 2001, A Midsummer Night's Dream, 2005, Spirit
of the Forest, the sequel to The Animated Forest, 2008, Silent Night, scheduled
for December 2009, The Golden Ass, scheduled for 2011, and In Search of
Oniria, scheduled for 2012.
Jose Pozo, after working for years on animated television series, joined the
Filmax group in 2000 to design and develop several artistic projects. In 2003 he
took on the script and direction of El Cid, La Leyenda and directed Donkey Xote
in 2007. Filmax made Nocturna and Donkey Xote (2007) and Pérez, the little
mouse of your dreams (2008). In 2008, Dygra made the second part of The
Animated Forest, entitled The Spirit of the Forest (2008), The Carnivorous
Crisis (2008), Animated Form with Mission in Mocland, a super-space
adventure (2008), by Juan Manuel Suárez. Kandor Moon directed The Missing
Lynx (2008) and The Lady and the Death, selected for the 2010 Oscars in the
category of best animated short film.
Cartoons with children's characters that are spread all over the world
They are Pocoyo (Zinkia), Bernard and Sally McKay. Planet 51, 2009, by Jorge
Blanco, co-produced with the UK, has been a worldwide success, an
international success that can compete with Pixar. It stars an American astronaut
who lands on a planet infested with aliens who live a lifestyle similar to that of
the 1950s.
Fernando Trueba and Javier Mariscal teamed up to make Chico y Rita, in
2010, cartoons for adults,
Winner of the Goya Award for Best Animated Film, which tells the story of
pianist Chico and singer Rita, two volcanic personalities who have a destructive
romantic relationship. Music plays a decisive role in the development of the plot.
and is part of the story in a very intimate way, with Bebo, and pieces by Cole
Porter, Charlie Parker, Dizzy Gillespie or Chano Pozo.

Animation for television

Although television animation is almost exclusively dominated by Japanese anime, two

Western products stand out as having occupied a large part of the market.
The Simpsons, made by Gracie Films for Twentieth Century Fox and Fox Network,
created by Matt Groening, began as a brief 2' slot on the television program "The Tracey
Ullman Show" in 1987. It was established as an independent series in December 1989,
although regular broadcasts did not begin until January 1990. It is an irreverent image of the
American family, very peculiar. From it, a critique is made of all Western culture and its
values.
South Park is a series distributed by Warner Bros. and broadcast by Comedy Central
since 1997 in the United States. It is about the adventures of four children who live in the
small town called South Park, Colorado. It is a critique of many aspects of American
culture and its strongly held beliefs, in light-hearted language.

The animated documentary

Sheila M. Sofian defines animated documentary as “any animated film that is based on non-fiction materials.”
Historians place the origin of the animated documentary in 1918, the year in which the pioneer Winsor McCay made The
Sinking of the Lusitania, a recreation of the episode that occurred in 1915, which recreates the attack by a German submarine on
a luxury British cruise ship with 2,000 passengers, which marked the entry of the United States into the First World War and of
which no documentary images had been recorded.

The sinking of the Lusitania (1918)

 Following this tradition in animation and coinciding with the success of
Flaherty's Nanook the Eskimo, Nanook of the North, considered the first
documentary in history, the Fleischer brothers (Max, Dave, Joe, and Lou),
inventors, animators and skilled businessmen who rivaled the powerful Disney,
produced the first animated feature film, which was precisely non-fiction:
Einstein's Theory of Relativity, in 1923.
In the field of experimental animation, John and Faith Hubley made several
shorts between 1959 and 1973 based on recordings of their children's voices.
Persepolis (2007)
Wallace and Gromit, has devoted a good part of his filmography to finding an
animated expression for those drifts of everyday speech that are not usually found
in dubbing studios: in his series of shorts Animated conversations (BBC, 1978) and
Conversation pieces (Channel 4, 1982), the recorded voices of cinema ticket
sellers, pensioners and prisoners inspired a succession of animated recordings.
Some recent examples are Late Edition (Peter Lord and David Sproxton, 1983)
about a man working on the latest edition of a magazine and using recordings of
real people and locations as bases. Grave of the Fireflies (Isao Takahata, 1988)
based on the novel by the Japanese author Akiyuki Nosaka and which narrates his
childhood experience during the bombings of the Second World War, based on real Waltz with Bashir (2008)
and personal events. The short film Abductees (1995), by Paul Vester, which recreated
testimonies of alleged alien abductees.
Other animated documentaries include Richard Linklater's Waking Life (2001), with its
philosophical dialogues, and the autobiographical Persepolis (2007), by Marjane Satrapi
and Vincent Paronnaud.
Waltz with Bashir, 2008, by Goldman, recovers in an autobiographical key the massacre
that took place in the Palestinian refugee camps of Sabra and Chatila during the Lebanese
war. Brett Morgen's Chicago 10, about the trial of the Chicago Seven, is a turning point in
the history of American counterculture. Watch 21st century movies
In Truth has fallen (Sheila Sofian, 2009), animation and real images are combined to
expose the cases of people who have been wrongly imprisoned, through the memories of
these false culprits, in a nightmare tone.
Artisanal animated cinema in the 21st century

Wrinkles

Spain. 2011. 80 min.

DIRECTOR. Ignacio Ferreras
SCRIPT. Ángel de la Cruz, Paco Roca, Ignacio Ferreras, Rosanna Cecchini
(Comic: Paco Roca)
MUSIC: Nani Garcia
AWARDS
2011: 2 Goya Awards: Best animated film and best adapted screenplay
2011: Annie Awards: Nominated for Best Picture
2012: Annecy Film Festival: Special Distinction (2nd Best Feature Film)
2012: European Film Awards: Nominated for Best Animated Film
2012: Ottawa Film Festival: Grand Prix for Best Animated Feature Film
SYNOPSIS. Emilio and Miguel, two elderly people confined in a nursing
home, become friends. Emilio, who suffers from early-stage Alzheimer's,
immediately enlists the help of Miguel and other colleagues who will try to
prevent him from ending up on the ward for the homeless. Their crazy plan adds
humor and tenderness to the tedious daily routine of the residence, as a new life
has just begun for them. 2D animated feature film for adults, based on the comic
of the same name by Paco Roca (National Comic Award 2008).

A cat in Paris. A chat life (A Cat in Paris)

France-Holland-Switzerland-Belgium. 2010. 70 min.

DIRECTOR. Jean-Loup Felicioli, Alain Gagnol
SCRIPT. Alain Gagnol, Jacques-Rémy Girerd
MUSIC. Serge Besset
AWARDS
2011: Oscar: Nominated for Best Animated Feature Film
2011: European Film Awards: Nominated for Best Animated Feature Film
2011: Annie Awards: Nominated for Best Picture
 SYNOPSIS. Dino is a cat who leads a double life. During the day, he lives with
Zoé, the only daughter of Jeanne, a police commissioner. At night, however, he
walks along the rooftops of Paris with Nico, a seasoned thief. Jeanne can't take it
anymore: not only does she have to chase Dino's intrepid partner, the author of
several jewel robberies; but she also has to keep an eye on the Colossus of Nairobi, a
gigantic statue coveted by Victor Costa, the culprit of the death of a policeman,
Jeanne's husband and Zoé's father, who has been locked away in total silence ever
since. Events unfold one night when Zoé surprises Costa and his gang. A chase then
begins to the roofs of Notre-Dame Cathedral.

New mixed techniques in animation cinema

Disney, Pixar and DreamWorks were responsible for making the same old
fantasies come true for the new generations, although with different techniques;
the hand of the animator was still required, although computers often replaced
pencils. There were attempts to recapture the old charm, such as The Princess
and the Frog (2009), which did not yield the desired box office results. The
drawings seemed to end to give way to the computer.
However, Wreck-It Ralph, the latest film from Disney Studios, arrives at the
end of 2012 and could be the beginning of a new era for animation. The film is as
digital as its predecessors (it is produced in CGI or computer animation and
inspired by a world as synthetic as that of video games), but it represents the most
perfect symbiosis that the industry has ever known between two and three
dimensions. A communion that is not only found in the feature film, but also in
the short film Paperman, which accompanies the premiere. Both worlds,
apparently antagonistic, finally come together in a new style in which the
computer-generated character benefits from the subtlety that only hand-drawn
lines are capable of giving to animation.
The creators of Wreck-It Ralph come from the field of computer animation, but
they have joined forces with others, such as Mark Henn and Eric Goldberg, lovers
of the pencil stroke, who have created a hybrid with the best of both worlds, in a
film that keeps that stroke, that harmony and agility alive, but giving it the
volume of computer animation. With this, a new technique may be being created.
In 2014, Pixar's eternal rival DreamWorks is planning its own hybrid product,
Me and my shadow, which will mix traditional and computer animation. The idea
is to traditionally animate the shadows of computer-generated characters in a
story where the world of shadows rebels against that of humans.