#PENCIL ANIMATION IDEAS SERIES#
Magoo), creator (Mamoru Hosoda), film ( Barefoot Gen), or series ( Avatar: The Last Airbender) went unrecognized.
#PENCIL ANIMATION IDEAS HOW TO#
We were especially choosy about which examples of combined live action and animation to use - a gimmick that had been deployed long before Mary Poppins - and how to handle the question of special effects, which we tried to limit to moments when we felt the tools and forms used by animators crossed over most dramatically with those of live-action filmmakers.Īll of the nominees were subject to the forces of capturing an accurate historical progression: Necessary inclusions meant omissions, some of which may feel crushing as you notice them. We excluded porn, video games, and advertising, reasoning that they didn’t jibe with a list of art intended to be consumed, rather than interacted with. You’ll notice Japan’s output is better represented than that of French or Czech animators, which we felt reflected American audiences’ evolving, decades-long relationship with Japanese animation. More than 600 nominations were considered based on the criteria we established: Since this list is for an American audience, entries skew toward what influenced American animation to be eligible, sequences had to have been made available, at some point, to audiences in the U.S., whether in limited screenings, wide release, or bootleg importation. We arrived at our list after months of discussions and arguments among a brain trust of animation professionals, historians, and other experts. One hundred is a crushingly compact number of slots with which to encapsulate the totality of a medium. This list is not intended to be comprehensive. From there, we address sequences in every decade well into our own era, touching on a range of formats, innovations, and historical moments, from the patenting of rotoscoping to the invention of the multiplane camera to the rise of anime and everything in between and after.
The arc of this history begins in 1892, the year Charles-Émile Reynaud first used his Théâtre Optique system to screen his moving pictures - to our mind, the first animated cartoons ever produced - for the public (and long after the invention of the magic lantern). By focusing on sequences, we can let creators and their individual decisions shine in a way full-length works may not.
#PENCIL ANIMATION IDEAS FULL#
Focusing on full cartoons would create a bias in the favor of studios with the resources to produce theatrical features - but history has shown that many landmark achievements in animation have been produced with a variety of budgets, formats, and lengths. We chose the deliberately flexible element of a “sequence” because it felt the most focused: It is often in one inspired moment, more so than a single frame or entire work, that we are able to see the form progress. To capture an idea of that power and to narrate its history, we have charted the evolution of animation by considering 100 sequences throughout the medium’s history. Today, vast audiences understand what artists like McLaren were observing: that the invisible holds a marvelous power over us. The characters and intellectual properties it has drawn into existence are as relatable as Daffy Duck and as lucrative as Mickey Mouse. The medium that began to crawl thanks to the live performances of inventor Charles-Émile Reynaud and illusionist Georges Méliès has now matured into a complex and diverse art form - one that has seen new processes and cultural innovations in every decade since its inception. Animated cartoons fool the brain into believing that static images can move characters are “brought to life” by putting pen to paper or finger to a computer’s trackpad. That has largely remained true throughout the medium’s history, both frame by frame and over the course of a two-hour children’s movie.
“Therefore, animation is the art of manipulating the invisible interstices between frames.” “What happens between each frame is more important than what happens on each frame,” the prominent experimental animator Norman McLaren (who makes the list with his short Neighbours, below) once explained. If you take an image of an open hand and an image of a fist and project the two in sequence, you’ll convey the illusion of a clench. It’s right there in the name of one of the earliest devices used to project slides: the magic lantern.
All animation, whether it depicts a whistling mouse, a walking dinosaur, or a leaping superhero, is a kind of magic trick.
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