EXAM ANIMATION PDF - Animation History Past Paper

Origin USA What’s a Cartoon? - Cartoon: Animated drawings made on paper, originating in the USA. Acetates were later used but were expensive, so hospital transparencies (e.g., X-rays) were initially utilized. - Key Element: A cartoon is tied to the concept of a *comic gag*. Pioneers of American Ca...

Origin USA What’s a Cartoon? - Cartoon: Animated drawings made on paper, originating in the USA. Acetates were later used but were expensive, so hospital transparencies (e.g., X-rays) were initially utilized. - Key Element: A cartoon is tied to the concept of a *comic gag*. Pioneers of American Cartoons - James Stuart Blackton, Winsor McCay, and John Randolph Bray: Founders of American animation, initially creating short films. - Disney's rise (1967-68) led to the decline of traditional cartoons. - Freleng (The Pink Panther) kept the style alive post-1969. Key Works and Innovations - Winsor McCay: - *Gertie the Dinosaur* (1914): First animated character with a distinct personality. - Featured McCay interacting with Gertie in live presentations. - Techniques: Thousands of drawings, reuse of artwork, coordinated movements. - Earlier works: *Little Nemo in Slumberland* (1911) and *How a Mosquito Operates*. The Fleischer Brothers (Max and Dave) - Invention: Max created the **rotoscope** (1915) to transfer live-action sequences to animation. - Studio: Founded in 1921; second-largest after Disney. - Produced *Koko the Clown* (1919) and *Gulliver’s Travels* (2nd animated feature in North America). - Known for iconic characters: *Betty Boop*, *Popeye*, and *Little Lulu*. - Challenges: Lack of planning and formal structure. - Closure: Absorbed by Paramount; studio ended in 1967. Pat Sullivan and Felix the Cat - Creation: Otto Messmer (true creator) designed Felix; Pat Sullivan managed production. - Felix was the first major animation character pre-Mickey Mouse. - Features: Smooth, angular shapes; innovative use of punctuation (!, ?). - Merchandising: Early pioneer in product branding. - Downfall: Struggled with sound cinema; Felix transitioned to comics. Paul Terry - First Sound Cartoon: *Dinner Time* (1928), predating *Steamboat Willie*. - Studio: Founded Terrytoons (1930); produced *Mighty Mouse* (1942). - Focused on ideas over form, contrasting Disney’s style. - Legacy: Emphasized irreverence and comic timing. Walter Lantz - Notable Works: Directed *Oswald the Lucky Rabbit* and created *Woody Woodpecker*. - *Woody Woodpecker*: Known for mischievous personality and trademark laugh. - Other characters: Andy Panda, Chilly Willy. - Studio: Operated until 1972; adapted to budget constraints. - Television: *The Woody Woodpecker Show* (1957). Tex Avery - Career: Worked at Warner Bros., MGM, and Hanna-Barbera. - Style: Opposed Disney’s realism; focused on surreal, fast-paced comedy. - Techniques: Breaking the fourth wall, facial distortion, exaggerated movements. - Influence: Created pure comedy free from sentimentality or ideology. - Notable Works: Innovator in visual comedy, compared to Chaplin and Keaton. Companies: Disney, MGM, Warner, UPA WALT DISNEY COMPANY Impact of Sound in Film: Sound transformed animation. Animators had to adapt or leave the industry. Ub Iwerks: ​ Disney’s early collaborator from Kansas City. ​ Animated first three Mickey Mouse shorts and directed first four Silly Symphonies (1929). ​ Left Disney in 1930 to start his studio (Flip the Frog, Willy Whopper). ​ Returned to Disney (1940), focused on special effects. ​ Oscar-nominated for The Birds (1963). ​ Co-creator of Mickey Mouse with Disney. Walt Disney: ​ Born in Chicago, started in Kansas City advertising illustration. ​ Founded Disney Studio with Roy Disney in 1923 in California. Key Innovations and Works: ​ Alice Comedies: Combined live-action and animation (Alice in Wonderland inspiration). ​ Oswald, the Lucky Rabbit: Popular character; lost rights to Charles Mintz. ​ Mickey Mouse: Created post-Oswald; debuted in Steamboat Willie (1928)—first synchronized cartoon. ​ Silly Symphonies: Fables with music; technical experiments. ​ Flowers and Trees (1932): First color short, won an Oscar.  ​ Snow White and the Seven Dwarfs (1937): Used multiplane camera for depth, groundbreaking feature. WARNER BROS. Key Figures: ​ Friz Freleng: Co-created Bugs Bunny, worked with Disney in the silent film era. ​ Chuck Jones: Developed Bugs Bunny, Porky Pig, and Daffy Duck; blended cultural references and modern art. Key Milestones: ​ Jack Warner closed the animation division in 1955 due to high costs; reopened briefly but saw a decline. ​ 1960s-70s: Limited production due to competition with television. METRO GOLDWYN MAYER (MGM) In-House Animation: ​ Launched animation department to reduce outsourcing. ​ Tom and Jerry: ○​ Created by William Hanna (director) and Joseph Barbera (writer). ○​ Won 7 Academy Awards. Post-War Decline: ​ Economic changes, rise of TV, and costs ended the monopoly of traditional animation. ​ Studios reduced shorts production, focusing on new mediums like TV and theme parks. UNITED PRODUCTIONS OF AMERICA (UPA) Founding and Vision: ​ Founded in 1941 by Disney veterans Dave Hilberman, Zachary Schwartz, and Stephen Bosustow. ​ John Hubley emphasized artistic, abstract animation over Disney’s hyperrealism. Key Works: ​ Hell-Bent for Election (1944): Propaganda short. ​ Mr. Magoo (1949): Iconic, non-traditional character. ○​ Bald, nearsighted, relatable personality; popular for a decade. ​ Gerald McBoing-Boing: Artistic storytelling avoiding slapstick. Decline: ​ Columbia canceled UPA’s contract (1959) after 1001 Arabian Nights (first feature film) failed. Warner and Pixar Hanna-Barbera ​ Pioneers in TV Animation: Produced family-friendly shows, not just for children. ○​ Yogi Bear and The Flintstones: Modeled after live-action sitcoms like The Honeymooners. ○​ The Jetsons: A futuristic sitcom with space-age technology themes. ○​ Scooby-Doo: Debuted in 1969, later joined by Scrappy-Doo in the 1970s. ○​ The Smurfs: Most popular production during the 1970s. Pixar: Evolution of 3D Animation Key Figures: 1.​ Edwin Catmull: Scientist transitioning animation from 2D to 3D. 2.​ John Lasseter: Visionary artist likened to Walt Disney. 3.​ Steve Jobs: Entrepreneurial force who financially backed Pixar. Origins: ​ CalArts (California Institute of the Arts): Founded in 1975, a key training ground for animators like Tim Burton and Brad Bird. Mentored by Disney’s "Nine Old Men." ​ Lasseter’s early Disney projects: ○​ The Lady and the Lamp and Nightmare won Academy recognition. ○​ Worked on The Fox and the Hound and experimented with 3D effects (Tron).  ○​ Early computer animation milestone: The Brave Little Toaster. Edwin Catmull's Innovations: ​ Developed systems to digitize hand-drawn animation (TWAIN) and created the first 3D cinema images in 1976. ​ Worked for Lucasfilm to advance 3D technology, leading to Pixar’s creation. Pixar Formation: ​ Formed by Lasseter, Catmull, and Jobs (the "Three Musketeers"). ​ Breakthrough shorts: ○​ Luxo Jr. (1987) introduit The Pixar lamp. ○​ Tin Toy gained recognition. Pixar's Key Milestones ​ 1990: Expanded to advertisements; recruited Andrew Stanton (Finding Nemo) and Pete Docter (Monsters, Inc.). ​ 1993: RenderMan software used in Jurassic Park, leading to Disney collaboration (Beauty and the Beast). Feature Films: ​ Toy Story (1995): ○​ Disney initially rejected it; revised to include Buzz Lightyear. ○​ First full 3D animated feature; won an Academy Award. ​ A Bug’s Life: Introduced widescreen 3D animation. ​ Continued success with films like: ○​ Toy Story 2, Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille, WALL-E, Up, Toy Story 3, and Cars 2. Summary: ​ Pixar's Legacy: Innovated 3D animation, combining storytelling with groundbreaking technology. JAPAN: Cultural Overview ​ Animation & Video Games: Core aspects of Japanese identity. ​ War's Impact: Japan, shaped by war, contrasts with Europe and America. ​ Cultural Exchange: Strong influence between Japan and the U.S., growing appeal in Europe. ​ Modern Japan: Balances ancient traditions with technology-driven culture. ​ Pop Culture Emergence:  ○​ Originated in the 1960s through minority-driven expression. ○​ Major global creator/exporter of pop culture. ​ Economy & Politics: ○​ Third-largest global economy. ○​ Strong traditional values persist in politics. ○​ Anime and manga are major economic drivers. COMICS: Manga ​ International Focus: Created with global audiences in mind, especially the U.S. ​ Buddhist Themes: Strong influence in storytelling. ​ Cultural Reference: Gained recognition globally starting in the 1970s. ​ Osamu Tezuka: ○​ Father of Japanese manga. ○​ Created Astroboy, inspired by Disney, pivotal in Japanese animation history. ​ Manga Characteristics: ○​ Appeals to all ages, unlike Western comics. ○​ Serialized in magazines (e.g., Shonen Jump) before compilation. ○​ Popular manga: Candy Candy, Heidi, Marco. ○​ Different aesthetics from Disney/American comics. ANIME: Key Highlights ​ Industry Evolution: ○​ Akira (1988): Revolutionary anime, departing from traditional methods. ○​ Pocket Monsters (Pokémon): First U.S. commercial success. ○​ Princess Mononoke: Key international breakthrough. ​ Notable Figures: ○​ Satoshi Kon: Known for Tokyo Godfathers. ○​ Rintaro: Directed Metropolis. ○​ Studio Mad House: Leading animation studio. ○​ Hayao Miyazaki: ​ Iconic director (Princess Mononoke, My Neighbor Totoro). ​ Traditional 2D style, Buddhist-inspired themes. ​ Focuses on “beautiful ideas,” diverging from Disney aesthetics. ​ Otaku Phenomenon: ○​ Initially marginalized individuals. ○​ Now celebrated as contributors to pop culture. Key Terms  ​ OVA (Original Video Animation): High-quality anime released directly to DVD. ​ Tankōbon: Compiled volumes of manga chapters. ​ Shonen Jump: Weekly manga magazine focusing on friendship, effort, and victory. Cultural Significance ​ Anime & Manga: ○​ Serve as windows into Japan's traditional and modern identities. ○​ Combine entertainment with deep cultural and philosophical values. ​ Miyazaki’s Aesthetic: ○​ Appeals to mature audiences through nature-centered, symbolic storytelling. ○​ Diverges from Western "polished" aesthetics, embracing simplicity and depth. Spain Early Challenges and Beginnings ​ Primitive beginnings: Animation in Spain was isolated, sporadic, and technically basic, starting in the 1940s. ​ Lack of support: Infrastructure for animators was minimal; animation was not seen as a serious field. ​ Techniques: Hand-drawn animation was dominant, with some basic stop-motion using articulated dolls. Influence and Censorship ​ American influence: Early Spanish animation was heavily influenced by American films. ​ Censorship issues: Films like Pipo y Pipa en busca de Cocolín (1936) were censored for political symbols. Key Figures and Milestones ​ Segundo de Chomón: Internationally recognized Spanish filmmaker; worked with Pathé. ​ Raúl García: Emigrated to America; worked on major films like Aladdin, The Lion King, and series for Hanna-Barbera and Klasky-Csupo. ​ Fernando Marco: Created El toro fenómeno in 1917, reflecting Spanish culture. ​ Joaquín Xaudaró and SEDA: Founded Sociedad Española del Dibujo Animado to promote Spanish animation.  ​ Arturo Moreno: Directed Spain’s first animated feature, Garbancito de la Mancha (religious/political themes). ​ Paco Macián: Directed El mago de los sueños, aimed at children. Industry Evolution ​ Advertising origins: Many animators started in advertising (e.g., Moro brothers and Movierecord). ​ Postwar struggles: The fascist regime stifled creativity and commercial potential. ​ 1950s-1960s awakening: Inspired by France, creators like Jordi Amorós explored adult-oriented animation. Modern Developments ​ 1980s studios: BRB, D'Ocon Films, and Neptuno Films founded; pioneers in computer-generated animation. ○​ The Fruittis (D'Ocon Films): First Spanish computer-generated project. ○​ Los Aurones: Another major computer-generated project. ​ Cruz Delgado: Created The Adventures of Don Quixote; established his own studio, producing feature films. ​ Pablo Núñez: Adopted North American film techniques for works like Chicho y Coca. Summary Spanish animation, despite its challenges, has evolved from isolated, hand-drawn efforts to a recognized industry with international contributions and technological advancements. Key figures like Segundo de Chomón, Raúl García, and studios like D'Ocon Films have shaped its legacy.  Pink Panther and Professionals The Pink Panther on the Big Screen ​ Year & Creator: 1964, Blake Edwards commissioned David DePatie & Friz Freleng’s studio (formerly Warner Bros.) for the opening credits of The Pink Panther featuring Peter Sellers. ​ Studio Achievements: ○​ DePatie remained active until 1980. ○​ Success led United Artists to distribute a series of short films. ○​ The Pink Phink (first episode) won an Oscar in 1964. ​ Other Productions: ○​ The Inspector and The Ant and the Aardvark (featuring a purple aardvark). ​ TV Presence: The Pink Panther Show aired on television. Ralph Bakshi ​ Early Career: Animator at Terrytoons (hired by CBS), promoted to director, and later chief supervisor. ​ Paramount Career: Developed his unique style of adult animation. ​ Notable Works: ○​ Fritz the Cat (1972): Satirical and depicted gritty realities of New York’s ghettos. ○​ Wizards (1977). ○​ The Lord of the Rings (animated adaptation). Don Bluth ​ Disney Career: Joined in 1956, left after 10 years, rejoined in 1971, but eventually left to start his own company. ​ Independent Works: ○​ The Secret of NIMH (1982). ○​ Co-produced An American Tail (1986) with Steven Spielberg. ​ Relocation: Moved to Ireland and established his production studio. Who Framed Roger Rabbit? ​ Directors: Robert Zemeckis and Steven Spielberg. ​ Animation Team: Richard Williams (Canadian animator) created animated scenes; began a career in television advertising before moving to Great Britain. ​ Significance: ○​ Seamless coexistence of animated and live-action characters. ○​ A landmark in integrating animation with real-world settings. Target Importance of Target Audience ​ Key Insight: Studios use quantitative analysis, field studies, focus groups, and social data collection to define target audiences. ​ Reason: Studios can't cater to all demographics, so they focus on specific targets (e.g., Despicable Me 3). ​ Example: Pixar movies are aimed at family audiences, with dual-layered content for children (entertainment) and adults (cultural references). Age-Based Targets 1.​ Preschool Target (0–4 years) ○​ Focus: Colors over narrative; vivid backgrounds and puppet-like characters. ○​ Key Colors: Red and yellow for visual impact. ○​ Style: Soft, almost 3D backgrounds for depth. ○​ Examples: In the Night Garden, Baby Einstein, Teletubbies, Mickey Mouse Clubhouse, Minnie's Bow-Toons, Goldie & Bear. 2.​ School-Age Target (4–6 years) ○​ Combination: Preschool elements (bright colors) + basic storylines. ○​ Language Development: Focus on simple narratives for growing language skills. ○​ Exemples: Pocoyo, Vicky the Viking, Dora the Explorer, Paw Patrol, Caillou, Little Einsteins, Team Umizoomi. 3.​ Child Target (6–8 years) ○​ Challenges: Children prefer older audience content. ○​ Specialization: Networks adapt to this with specific formats. ○​ Marketing Phenomenon: Ben 10 integrates animation with merchandising (e.g., toys, backpacks). ○​ Examples: Blaze and the Monster Machines, Zack & Quack, The Triplets, Maya the Bee. 4.​ Older Child Target (8–12 years) ○​ Tone: More rebellious and adventurous content. ○​ Examples: Invizimals, Phineas and Ferb, Ben 10, Teenage Mutant Ninja Turtles, SpongeBob SquarePants, The Loud House, Sendokai Champions. 5.​ Family Target (12+ years) ○​ Cinema-Oriented: Typically for movie theaters, not TV. ○​ Examples: Monsters, Inc., Cars, Minions, The Lego Movie. ○​ TV Exceptions: Star Wars Rebels, Ninjago. 6.​ Adult Target ○​ Characteristics: Limited funding; creative and artisanal techniques. ○​ Genres: Auteur-style films with innovative methods (e.g., sand animation). ○​ Examples: Yellow Submarine, Grave of the Fireflies, Chico and Rita.  Elements and workflow Soundtracks and Storytelling ​ Soundtrack Purpose: ○​ Enhances emotional depth and engagement in short films (e.g., Tex Avery). ○​ Became integral to storytelling, adding rhythm and atmosphere. ​ Storytelling Evolution: ○​ Transitioned to more elaborate narratives, requiring deeper characterization and innovative ideas. ○​ Stories were developed with originality to adapt to changing animation styles. ○​ Strong storylines became a hallmark of impactful animation. ​ Story Men: ○​ Responsible for idea generation and creating narratives. ○​ Emphasized character arcs, plot twists, and emotional engagement. ○​ Collaborated closely with animators and directors. Characters ​ Revolutionary Designs: ○​ Characters were designed to be distinct and memorable, often reflecting contemporary cultural trends. ○​ "One-shot" characters allowed studios to experiment with unique designs. ​ Model Sheets: ○​ Essential tools for maintaining character consistency across animations. ○​ Included poses, facial expressions, and turnarounds. ○​ Circulated among all team members for reference. ​ Team Specializations: ○​ Animal Animators: Focused on realistic or exaggerated animal movements. ○​ Secondary Character Animators: Brought supporting roles to life. ○​ Prop Animators: Focused on objects and set pieces interacting with characters. ○​ Main Character Animators: Handled protagonists with attention to subtle details. ​ Interpolators: Filled in-between frames to ensure smooth transitions in animation. Storyboard ​ Advantages: ○​ Provides a clear framework for the animation process. ○​ Defines shot composition, camera angles, and timing.  ○​ Facilitates coordination between departments (animators, background artists, technicians). ​ Story Meeting: ○​ Collaborative discussion involving the storyboard, scene breakdown, and task delegation. Layout/Planning ​ Importance: ○​ Bridges the gap between the conceptual storyboard and detailed animation. ○​ Ensures all visual elements are refined and ready for production. ○​ Lays the groundwork for background artists, camera operators, and animators. ​ Sketch Refinement: ○​ Each sketch is scaled to full size for accuracy. ○​ Includes details like camera movements, character positions, and background integration. Animation Process ​ Sequential Drawings: ○​ Animators created a series of drawings in a sequence to produce fluid motion. ○​ Keyframes (critical poses) and in-betweens (transitional drawings) were synchronized for lifelike movement. ​ Techniques: ○​ Traditional hand-drawn methods formed the foundation. ○​ Advances included rotoscoping and multiplane cameras to enhance depth and realism. Backgrounds ​ Role: ○​ Set the mood and context for animation. ○​ Integrated closely with the character design to avoid visual dissonance. ​ Techniques: ○​ Tempera Paint: Provided vibrant and bold colors. ○​ Watercolor: Offers a softer, more nuanced aesthetic. ○​ Famous examples include Tex Avery's background for Woody Woodpecker. Ink, Color, and Filming ​ Inking and Coloring: ○​ Artists meticulously inked the character outlines and applied colors using cel animation techniques. ○​ Each frame was hand-painted to ensure consistency. ​ Filming Technique: ○​ Used sliding boards to capture movement. ○​ Early cameras were synchronized with lighting to create seamless transitions. Music and Voices ​ Fundamental Role: ○​ Music sets the pace and tone for animations. ○​ Voice acting added personality and humor. ​ Soundtrack Integration: ○​ Musical scores were often composed alongside the animation process. ○​ Sound effects (e.g., footsteps, crashes) were crafted to align with visual action. ​ Historical Context: ○​ Early sound cartoons often revolved around musical compositions (e.g., Steamboat Willie). Distribution and Exhibition ​ Distributor Partnerships: ○​ Studios depended on major distributors to ensure wide audience reach. ○​ Examples: ​ Disney: Distributed by United Artists (later by RKO Pictures). ​ MGM: Distributed Tom and Jerry. ​ Walter Lantz: Created Woody Woodpecker under Universal Pictures. ​ Key Figures: ○​ Ub Iwerks: Co-created Mickey Mouse with Walt Disney. ○​ Tex Avery: Known for his work with MGM and creating iconic characters. Motion techniques Motion Techniques in Animation (Exam Notes) 1.​ Cartoons ○​ Created by drawing each frame, typically 8-24 frames per second for animation effect (retinal persistence). ○​ Early days involved painting and filming each frame; accelerated with cell/acetate animation by Bray and Hurd in the 1910s, using transparent sheets. 2.​ Stop Motion or Volume Animation ○​ Objects/models/puppets are brought to life through frame-by-frame photography. ○​ Initiated by Segundo de Chomón with "crank movement." ○​ Examples: Wallace & Gromit, AT-ATs from The Empire Strikes Back, ED-209 from RoboCop. 3.​ Claymation ○​ Animation using clay or plasticine models. ○​ Example: Wallace & Gromit. 4.​ Cut-Out Animation ○​ Parts of a character are created separately and modified in position on a flat surface, photographing each change. ○​ Example: Music video "Live for the Moment" by Verona Riots (2014). 5.​ Stop Trick ○​ Special effect to make an object appear and disappear by photographing when it is present and absent. ○​ Discovered by Georges Méliès due to a camera malfunction. ○​ Used to create illusions of magic. 6.​ Replacement Animation ○​ Variant of stop motion where different pieces are replaced as needed for each shot. 7.​ Puppetoons ○​ Created by George Pal and Dave Bader, combining puppetry and animation. ○​ Involves animating puppets frame-by-frame, a type of stop motion. 8.​ Direct Film ○​ Animation directly drawn, scratched, or painted onto the celluloid film. ○​ Example: Len Lye's work. 9.​ Pixilation ○​ Form of stop motion with real people and objects. ○​ Popularized by Norman McLaren in Neighbours (1952), used for music videos. ○​ Also used by Segundo de Chomón in Hotel Eléctrico (1908). 10.​Folioscope ○​ Animation of elements like the corners of a book or notebook. 11.​ Rotoscoping ○​ Tracing over live-action film frames to achieve realistic movements. ○​ Used by Disney in Snow White for movements like dancing or walking.  ○​ Precursor to motion capture; allows for combining live-action footage with animation. ○​ Example: Who Framed Roger Rabbit? 12.​ Limited Animation ○​ Reduces the number of frames per second from 24 to 8. ○​ Used to create an old-fashioned look; backgrounds and movements are repeated. ○​ Examples: The Flintstones, Spider-Man. 13.​ Flash Animation ○​ Multimedia editing tool for managing bones, layers, and onion skinning. ○​ Examples: Cálico Electrónico, Niña Repelente. 14.​3D Animation ○​ Gaining popularity due to cost-effectiveness and the rise of applications. ○​ Rendering creates final images or videos, often for post-production. ○​ Examples: Final Fantasy (2002), The Polar Express. 15.​ Motion Capture Animation ○​ Performed using sensors or special suits to capture actor movements. ○​ Used for facial animation in films like The Lord of the Rings. ○​ Processed through software like Motion Builder for cleaning and management. 16.​ Notable Examples: ○​ Tin Toy (1988, Academy Award winner). ○​ Kubo and the Two Strings (2016).