ANIM ATION T E C HN IQU E S

UNIT 33
STOP MOTION ANIMATION
WHAT IS STOP MOTION ANIMATION?
STOP MOTION ANIMATION IS AN ANIMATION TECHNIQUE THAT PHYSICALLY MANIPULATES AN
OBJECT SO THAT THE OBJECT THEN APPEARS TO MOVE ON ITS OWN. THE OBJECT IS MOVED
IN SMALL INCREMENTS AND IN BETWEEN EACH MOVEMENT IS PHOTOGRAPHED TO MAKE UP A
FRAME THIS CREATES THE ILLUSION THAT THE OBJECT IS MOVING WHEN THE SERIES OF
FRAMES IS PLAYED. STOP MOTION CAN BE DONE WITH CLAY AND ALSO PUPPETS.
EXAMPLE OF STOP ANIMATION:
ONE OF THE MOST WELL KNOWN EXAMPLES OF STOP ANIMATIONS IS THE AARDMAN
ANIMATIONS PRODUCTION OF WALLACE AND GROMIT & SHAUN THE SHEEP, BOTH STILL VERY
POPULAR CLAYMATION ANIMATIONS.
DESPITE THE DEVELOPMENT IN TECHNOLOGY, STOP ANIMATION IS STILL USED FOR THE
ENTERTAINMENT OF OTHERS WITH MANY STOP MOTION BLOCKBUSTERS BEING RELEASED.
SUCH AS SHAUN THE SHEEP MOVIE (2015) WITH A BOX-OFFICE GROSS INTAKE OF $106 MILLION
& THE 2013 NOMINATED ACADEMY AWARD FOR BEST ANIMATION FEATURE THE PIRATES! IN AN
ADVENTURE WITH SCIENTISTS! (2012) WITH A BOX-OFFICE GROSS INTAKE OF $123 MILLION.
PERSISTENCE OF VISION
PERSISTENCE OF VISION REFERS TO THE OPTICAL ILLUSION WHEREBY MULTIPLE DISCRETE IMAGES BLEND INTO A SINGLE IMAGE IN THE HUMAN MIND AND BELIEVED
TO BE THE EXPLANATION FOR MOTION PERCEPTION IN CINEMA AND ANIMATED FILMS. LIKE OTHER ILLUSIONS OF VISUAL PERCEPTION, IT IS PRODUCED BY CERTAIN
CHARACTERISTICS OF THE VISUAL SYSTEM.

NARROWLY DEFINED, THE THEORY OF PERSISTENCE OF VISION IS THE BELIEF THAT HUMAN PERCEPTION OF MOTION (BRAIN CENTERED) IS THE RESULT OF
PERSISTENCE OF VISION (EYE CENTERED). THAT VERSION OF THE THEORY WAS DISPROVED IN 1912 BY WERTHEIMER BUT PERSISTS IN CITATIONS IN MANY CLASSIC
AND MODERN FILM-THEORY TEXTS. A MORE PLAUSIBLE THEORY TO EXPLAIN MOTION PERCEPTION (AT LEAST ON A DESCRIPTIVE LEVEL) ARE TWO DISTINCT
PERCEPTUAL ILLUSIONS: PHI PHENOMENON AND BETA MOVEMENT. A VISUAL FORM OF MEMORY KNOWN AS ICONIC MEMORY HAS BEEN DESCRIBED AS THE CAUSE OF
THIS PHENOMENON. ALTHOUGH PSYCHOLOGISTS AND PHYSIOLOGISTS HAVE REJECTED THE RELEVANCE OF THIS THEORY TO FILM VIEWERSHIP, FILM ACADEMICS
AND THEORISTS GENERALLY HAVE NOT. SOME SCIENTISTS NOWADAYS CONSIDER THE ENTIRE THEORY A MYTH. IN CONTRASTING PERSISTENCE OF VISION THEORY
WITH PHI PHENOMENA, A CRITICAL PART OF UNDERSTANDING THAT EMERGES WITH THESE VISUAL PERCEPTION PHENOMENA IS THAT THE EYE IS NOT A CAMERA AND
DOES NOT SEE IN FRAMES PER SECOND. IN OTHER WORDS, VISION IS NOT AS SIMPLE AS LIGHT REGISTERING ON A MEDIUM, SINCE THE BRAIN HAS TO MAKE SENSE
OF THE VISUAL DATA THE EYE PROVIDES AND CONSTRUCT A COHERENT PICTURE OF REALITY. JOSEPH ANDERSON AND BARBARA FISHER ARGUE THAT THE PHI
PHENOMENA PRIVILEGES A MORE CONSTRUCTIONIST APPROACH TO THE CINEMA (DAVID BORDWELL, NOL CARROLL, KIRSTIN THOMPSON, WHEREAS THE
PERSISTENCE OF VISION PRIVILEGES A REALIST APPROACH (ANDR BAZIN, CHRISTIAN METZ, JEAN-LOUIS BAUDRY). THE DISCOVERY OF PERSISTENCE OF VISION IS
ATTRIBUTED TO THE ROMAN POET LUCRETIUS, ALTHOUGH HE ONLY MENTIONS IT IN CONNECTION WITH IMAGES SEEN IN A DREAM. IN THE MODERN ERA, SOME
STROBOSCOPIC EXPERIMENTS PERFORMED BY PETER MARK ROGET IN 1824 WERE ALSO CITED AS THE BASIS FOR THE THEORY.

CARTOON ANIMATION: IN DRAWN ANIMATION, MOVING CHARACTERS ARE OFTEN SHOT "ON TWOS", THAT IS TO SAY, ONE DRAWING IS SHOWN FOR EVERY TWO
FRAMES OF FILM (WHICH USUALLY RUNS AT 24 FRAMES PER SECOND), MEANING THERE ARE ONLY 12 DRAWINGS PER SECOND. EVEN THOUGH THE IMAGE UPDATE
RATE IS LOW, THE FLUIDITY IS SATISFACTORY FOR MOST SUBJECTS. HOWEVER, WHEN A CHARACTER IS REQUIRED TO PERFORM A QUICK MOVEMENT, IT IS USUALLY
NECESSARY TO REVERT TO ANIMATING "ON ONES", AS "TWOS" ARE TOO SLOW TO CONVEY THE MOTION ADEQUATELY. A BLEND OF THE TWO TECHNIQUES KEEPS THE
EYE FOOLED WITHOUT UNNECESSARY PRODUCTION COST.

ANIMATION FOR MOST "SATURDAY MORNING CARTOONS" IS PRODUCED AS CHEAPLY AS POSSIBLE, AND IS MOST OFTEN SHOT ON "THREES", OR EVEN "FOURS", I.E.
THREE OR FOUR FRAMES PER DRAWING. THIS TRANSLATES TO ONLY 8 OR 6 DRAWINGS PER SECOND, RESPECTIVELY.
STOP FRAME
TOP MOTION ANIMATION (ALSO CALLED STOP FRAME ANIMATION) IS ANIMATION THAT IS CAPTURED ONE FRAME AT TIME, WITH PHYSICAL OBJECTS THAT ARE MOVED
BETWEEN FRAMES. WHEN YOU PLAY BACK THE SEQUENCE OF IMAGES RAPIDLY, IT CREATES THE ILLUSION OF MOVEMENT. IF YOU UNDERSTAND HOW 2D DRAWN
ANIMATION (EARLY DISNEY) WORKS, STOP MOTION IS SIMILAR, EXCEPT USING PHYSICAL OBJECTS INSTEAD OF DRAWINGS.

THE BASIC PROCESS OF ANIMATION INVOLVES TAKING A PHOTOGRAPH OF YOUR OBJECTS OR CHARACTERS, MOVING THEM SLIGHTLY, AND TAKING ANOTHER
PHOTOGRAPH. WHEN YOU PLAY BACK THE IMAGES CONSECUTIVELY, THE OBJECTS OR CHARACTERS APPEAR TO MOVE ON THEIR OWN. HERE IS AN EXAMPLE OF
HOW STOP FRAME IS DONE AS YOU CAN SEE THE OBJECT MOVES EVER SO SLIGHTLY I EACH FRAME AND THEN AT THE END WHEN IT IS ALL PUT TOGETHER THE
OBJECT WILL LOOK AS IT IF IS MOVING.

YOU SEE STOP MOTION ANIMATION ALL THE TIMEIN COMMERCIALS, MUSIC VIDEOS, TELEVISION SHOWS AND FEATURE FILMSEVEN IF YOU DON'T REALIZE IT.
WHILE IT IS COMMON FOR PEOPLE TO THINK OF STOP MOTION AS JUST ONE SPECIFIC STYLE, SUCH AS CLAY ANIMATION, THE REALITY IS THAT STOP MOTION
TECHNIQUES CAN BE USED TO CREATE A WIDE RANGE OF FILM STYLES. THE EXAMPLES OF DIFFERENT STYLES OF FILMS ARE:

TIM BURTONS CORPSE BRIDE (2005)

CHICKEN RUN (2000)

FRAME RATES
FRAME RATE, ALSO KNOWN AS FRAME FREQUENCY, IS THE FREQUENCY (RATE) AT WHICH AN IMAGING DEVICE DISPLAYS CONSECUTIVE IMAGES CALLED FRAMES. THE TERM APPLIES EQUALLY TO
FILM AND VIDEO CAMERAS, COMPUTER GRAPHICS, AND MOTION CAPTURE SYSTEMS. FRAME RATE IS USUALLY EXPRESSED IN FRAMES PER SECOND (FPS).

FRAME RATE AND HUMAN VISION:

THE TEMPORAL SENSITIVITY AND RESOLUTION OF HUMAN VISION VARIES DEPENDING ON THE TYPE AND CHARACTERISTICS OF VISUAL STIMULUS, AND IT DIFFERS BETWEEN INDIVIDUALS. THE
HUMAN VISUAL SYSTEM CAN THEORETICALLY PROCESS 1000 SEPARATE IMAGES PER SECOND BUT IS NOT NOTICEABLE TO THE UNTRAINED EYE AFTER ABOUT 150 AND SEQUENCES AT HIGHER
RATES ARE PERCEIVED AS MOTION.[1] MODULATED LIGHT (SUCH AS A COMPUTER DISPLAY) IS PERCEIVED AS STABLE BY THE MAJORITY OF PARTICIPANTS IN STUDIES WHEN THE RATE IS HIGHER
THAN 50 HZ THROUGH 90 HZ. THIS PERCEPTION OF MODULATED LIGHT AS STEADY IS KNOWN AS THE FLICKER FUSION THRESHOLD. HOWEVER, WHEN THE MODULATED LIGHT IS NON-UNIFORM
AND CONTAINS AN IMAGE, THE FLICKER FUSION THRESHOLD CAN BE MUCH HIGHER. WITH REGARD TO IMAGE RECOGNITION, PEOPLE HAVE BEEN FOUND TO RECOGNIZE A SPECIFIC IMAGE IN AN
UNBROKEN SERIES OF DIFFERENT IMAGES, EACH OF WHICH LASTS AS LITTLE AS 13 MILLISECONDS. PERSISTENCE OF VISION SOMETIMES ACCOUNTS FOR VERY SHORT SINGLE-MILLISECOND
VISUAL STIMULUS HAVING A PERCEIVED DURATION OF BETWEEN 100 MS AND 400 MS. MULTIPLE STIMULI THAT ARE VERY SHORT ARE SOMETIMES PERCEIVED AS A SINGLE STIMULUS, SUCH AS A 10
MS GREEN FLASH OF LIGHT IMMEDIATELY FOLLOWED BY A 10 MS RED FLASH OF LIGHT PERCEIVED AS A SINGLE YELLOW FLASH OF LIGHT.

FILM:

SILENT FILMS: EARLY SILENT FILMS HAD STATED FRAME RATES ANYWHERE FROM 16 TO 24 FRAMES PER SECOND (FPS),[5] BUT SINCE THE CAMERAS WERE HAND-CRANKED, THE RATE OFTEN
CHANGED DURING THE SCENE TO FIT THE MOOD. PROJECTIONISTS COULD ALSO CHANGE THE FRAME RATE IN THE THEATER BY ADJUSTING A RHEOSTAT CONTROLLING THE VOLTAGE POWERING
THE FILM-CARRYING MECHANISM IN THE PROJECTOR. SILENT FILMS WERE OFTEN INTENDED TO BE SHOWN AT HIGHER FRAME RATES THAN THOSE USED DURING FILMING. THESE FRAME RATES
WERE ENOUGH FOR THE SENSE OF MOTION, BUT IT WAS PERCEIVED AS JERKY MOTION. BY USING PROJECTORS WITH DUAL- AND TRIPLE-BLADE SHUTTERS, THE RATE WAS MULTIPLIED TWO OR
THREE TIMES AS SEEN BY THE AUDIENCE. THOMAS EDISON SAID THAT 46 FRAMES PER SECOND WAS THE MINIMUM NEEDED BY THE VISUAL CORTEX: "ANYTHING LESS WILL STRAIN THE EYE." IN
THE MID TO LATE 1920S, THE FRAME RATE FOR SILENT FILMS INCREASED TO BETWEEN 20 AND 26 FPS.

SOUND FILMS: WHEN SOUND FILM WAS INTRODUCED IN 1926, VARIATIONS IN FILM SPEED WERE NO LONGER TOLERATED AS THE HUMAN EAR IS MORE SENSITIVE TO CHANGES IN AUDIO
FREQUENCY. MANY THEATERS HAD SHOWN SILENT FILMS AT 22 TO 26 FPS WHICH IS WHY 24 FPS WAS CHOSEN FOR SOUND. FROM 1927 TO 1930, AS VARIOUS STUDIOS UPDATED EQUIPMENT, THE
RATE OF 24 FPS BECAME STANDARD FOR 35 MM SOUND FILM. AT 24 FPS THE FILM TRAVELS THROUGH THE PROJECTOR AT A RATE OF 456 MILLIMETRES
(18.0 IN) PER SECOND. THIS ALLOWED FOR SIMPLE TWO-BLADE SHUTTERS TO GIVE A PROJECTED SERIES OF IMAGES AT 48 PER SECOND, SATISFYING EDISON'S
RECOMMENDATION. MANY MODERN 35 MM FILM PROJECTORS USE THREE-BLADE SHUTTERS TO GIVE 72 IMAGES PER SECONDEACH FRAME IS FLASHED ON SCREEN
THREE TIMES.
CONCLUSION

I HAVE LOOKED AT THE DIFFERENT FRAME RATES, STOP FRAME AND ALSO SOME DIFFERENT
STYLES OF ANIMATION SUCH AS STOP MOTION ANIMATION AND PERSISTENCE OF VISION. THIS
HELPED TO GIVE ME A GENERAL IDEA OF WHAT IT IS THAT I WILL BE DOING AND THE BASICS OF
HOW MY ANIMATION IS GOING TO BE PUT TOGETHER.
MY CONCLUSION ID THAT WHEN IT COMES TO STOP MOTION ANIMATION THE FRAME RATES ARE
VERY IMPORTANT AS THIS IS WHAT IS GOING TO MAKE THE ANIMATION COME TOGETHER.
ANIMATION DEVELOPMENT
PIONEERS IN THE INDUSTRY
OVER THE NEXT SEVEN SLIDES I WILL BE DISCUSSING THE DIFFERENT PIONEERS THAT ARE IN THE
ANIMATION DEVELOPMENT INDUSTRY

JOSEPH PLATEAU
EDISON
LUMIERE BROTHERS
WILLIAM HORNER
EMILE REYNAUD
EDWARD MUYBRIDGE
GEORGE PAL
JOSEPH PLATEAU
JOSEPH ANTOINE FERDINAND PLATEAU BORN 14 TH OCTOBER 1801 DIED 15TH SEPTEMBER 1883 WAS A BELGIAN PHYSICIST. HE
WAS ONE OF THE FIRST PEOPLE TO DEMONSTRATE THE ILLUSION OF A MOVING IMAGE. THE MIDDLE IMAGE IS OF THE DEVICE
OF 1832 CALLED THE PHENAKISTOSCOPE. HE USED COUNTER ROTATING DISKS WITH REPEATING DRAWN IMAGES IN SMALL
INCREMENTS OF MOTION ON ONE AND REGULARLY SPACED SLITS IN THE OTHER.
RESEARCH: HTTPS://EN.WIKIPEDIA.ORG/WIKI/JOSEPH_PLATEAU
IN 1829 JOSEPH PLATEAU SUBMITTED HIS DOCTORAL THESIS TO HIS MENTOR ADOLPHE QUETELET FOR ADVICE. IT CONTAINED
ONLY 27 PAGES, BUT FORMULATED A GREAT NUMBER OF FUNDAMENTAL CONCLUSIONS. IT CONTAINED THE FIRST RESULTS OF
HIS RESEARCH INTO THE EFFECT OF COLOURS ON THE RETINA (DURATION, INTENSITY AND COLOUR), HIS MATHEMATICAL
RESEARCH INTO THE INTERSECTIONS OF REVOLVING CURVES (LOCUS), THE OBSERVATION OF THE DISTORTION OF MOVING
IMAGES, AND THE RECONSTRUCTION OF DISTORTED IMAGES THROUGH COUNTER REVOLVING DISCS (HE DUBBED THESE
ANORTHOSCOPIC DISCS).IN 1832, PLATEAU INVENTED AN EARLY STROBOSCOPIC DEVICE, THE "PHENAKISTOSCOPE", THE
FIRST DEVICE TO GIVE THE ILLUSION OF A MOVING IMAGE. IT CONSISTED OF TWO DISKS, ONE WITH SMALL EQUIDISTANT
RADIAL WINDOWS, THROUGH WHICH THE VIEWER COULD LOOK, AND ANOTHER CONTAINING A SEQUENCE OF IMAGES. WHEN
THE TWO DISKS ROTATED AT THE CORRECT SPEED, THE SYNCHRONIZATION OF THE WINDOWS AND THE IMAGES CREATED AN
ANIMATED EFFECT. THE PROJECTION OF STROBOSCOPIC PHOTOGRAPHS, CREATING THE ILLUSION OF MOTION, EVENTUALLY
LED TO THE DEVELOPMENT OF CINEMA.
PLATEAU ALSO STUDIED THE PHENOMENA OF CAPILLARY ACTION AND SURFACE TENSION (STATIQUE EXPRIMENTALE ET
THORIQUE DES LIQUIDES SOUMIS AUX SEULES FORCES MOLCULAIRES, 1873). THE MATHEMATICAL PROBLEM OF
EXISTENCE OF A MINIMAL SURFACE WITH A GIVEN BOUNDARY IS NAMED AFTER HIM. HE CONDUCTED EXTENSIVE STUDIES OF
SOAP FILMS AND FORMULATED PLATEAU'S LAWS WHICH DESCRIBE THE STRUCTURES FORMED BY SUCH FILMS IN FOAMS.
EDISON
THOMAS ALVA EDISON BORN FEBRUARY 11 1847 DIED OCTOBER 18 1931 WAS AN AMERICAN INVENTOR AND BUSINESSMAN. HE DEVELOPED MANY DEVICES THAT
GREATLY INFLUENCED LIFE AROUND THE WORLD, INCLUDING THE PHONOGRAPH, THE MOTION PICTURE CAMERA, AND THE LONG-LASTING, PRACTICAL ELECTRIC LIGHT
BULB. DUBBED "THE WIZARD OF MENLO PARK", HE WAS ONE OF THE FIRST INVENTORS TO APPLY THE PRINCIPLES OF MASS PRODUCTION AND LARGE-SCALE
TEAMWORK TO THE PROCESS OF INVENTION, AND BECAUSE OF THAT, HE IS OFTEN CREDITED WITH THE CREATION OF THE FIRST INDUSTRIAL RESEARCH LABORATORY.
MOTION PICTURES: HTTPS://EN.WIKIPEDIA.ORG/WIKI/THOMAS_EDISON
EDISON WAS ALSO GRANTED A PATENT FOR THE MOTION PICTURE CAMERA OR "KINETOGRAPH". HE DID THE ELECTROMECHANICAL DESIGN, WHILE HIS EMPLOYEE W. K.
L. DICKSON, A PHOTOGRAPHER, WORKED ON THE PHOTOGRAPHIC AND OPTICAL DEVELOPMENT. MUCH OF THE CREDIT FOR THE INVENTION BELONGS TO DICKSON. IN
1891, THOMAS EDISON BUILT A KINETOSCOPE, OR PEEP-HOLE VIEWER. THIS DEVICE WAS INSTALLED IN PENNY ARCADES, WHERE PEOPLE COULD WATCH SHORT,
SIMPLE FILMS. THE KINETOGRAPH AND KINETOSCOPE WERE BOTH FIRST PUBLICLY EXHIBITED MAY 20, 1891. IN APRIL 1896, THOMAS ARMAT'S VITASCOPE,
MANUFACTURED BY THE EDISON FACTORY AND MARKETED IN EDISON'S NAME, WAS USED TO PROJECT MOTION PICTURES IN PUBLIC SCREENINGS IN NEW YORK CITY.
LATER HE EXHIBITED MOTION PICTURES WITH VOICE SOUNDTRACK ON CYLINDER RECORDINGS, MECHANICALLY SYNCHRONIZED WITH THE FILM. OFFICIALLY THE
KINETOSCOPE ENTERED EUROPE WHEN THE RICH AMERICAN BUSINESSMAN IRVING T. BUSH (18691948) BOUGHT FROM THE CONTINENTAL COMMERCE COMPANY OF
FRANK Z. MAGUIRE AND JOSEPH D. BAUCUS A DOZEN MACHINES. BUSH PLACED FROM OCTOBER 17, 1894, THE FIRST KINETOSCOPES IN LONDON. AT THE SAME TIME
THE FRENCH COMPANY KINTOSCOPE EDISON MICHEL ET ALEXIS WERNER BOUGHT THESE MACHINES FOR THE MARKET IN FRANCE. IN THE LAST THREE MONTHS OF
1894, THE CONTINENTAL COMMERCE COMPANY SOLD HUNDREDS OF KINETOSCOPES IN EUROPE (I.E. THE NETHERLANDS AND ITALY). IN GERMANY AND IN AUSTRIA-
HUNGARY THE KINETOSCOPE WAS INTRODUCED BY THE DEUTSCHE-STERREICHISCHE-EDISON-KINETOSCOP GESELLSCHAFT, FOUNDED BY THE LUDWIG
STOLLWERCK OF THE SCHOKOLADEN-SSSWARENFABRIK STOLLWERCK & CO OF COLOGNE. THE FIRST KINETOSCOPES ARRIVED IN BELGIUM AT THE FAIRS IN EARLY
1895. THE EDISON'S KINTOSCOPE FRANAIS, A BELGIAN COMPANY, WAS FOUNDED IN BRUSSELS ON JANUARY 15, 1895, WITH THE RIGHTS TO SELL THE KINETOSCOPES
IN MONACO, FRANCE AND THE FRENCH COLONIES. THE MAIN INVESTORS IN THIS COMPANY WERE BELGIAN INDUSTRIALISTS. ON MAY 14, 1895, THE EDISON'S
KINTOSCOPE BELGE WAS FOUNDED IN BRUSSELS. THE BUSINESSMAN LADISLAS-VICTOR LEWITZKI, LIVING IN LONDON BUT ACTIVE IN BELGIUM AND FRANCE, TOOK
THE INITIATIVE IN STARTING THIS BUSINESS. HE HAD CONTACTS WITH LEON GAUMONT AND THE AMERICAN MUTOSCOPE AND BIOGRAPH CO. IN 1898 HE ALSO BECAME A
SHAREHOLDER OF THE BIOGRAPH AND MUTOSCOPE COMPANY FOR FRANCE. EDISON'S FILM STUDIO MADE CLOSE TO 1,200 FILMS. THE MAJORITY OF THE
PRODUCTIONS WERE SHORT FILMS SHOWING EVERYTHING FROM ACROBATS TO PARADES TO FIRE CALLS INCLUDING TITLES SUCH AS FRED OTT'S SNEEZE (1894), THE
KISS (1896), THE GREAT TRAIN ROBBERY (1903), ALICE'S ADVENTURES IN WONDERLAND (1910), AND THE FIRST FRANKENSTEIN FILM IN 1910. IN 1903, WHEN THE OWNERS
OF LUNA PARK, CONEY ISLAND ANNOUNCED THEY WOULD EXECUTE TOPSY THE ELEPHANT BY STRANGULATION, POISONING, AND ELECTROCUTION (WITH THE
ELECTROCUTION PART ULTIMATELY KILLING THE ELEPHANT), EDISON MANUFACTURING SENT A CREW TO FILM IT, RELEASING IT THAT SAME YEAR WITH THE
TITLE ELECTROCUTING AN ELEPHANT.
LUMIERE BROTHERS
THE LUMIRE BROTHERS, AUGUSTE MARIE LOUIS NICOLAS BORN 19 OCTOBER 1862, BESANON, FRANCE DIED 10
APRIL 1954, LYON AND LOUIS JEAN BORN 5 OCTOBER 1864, BESANON, FRANCE DIED 6 JUNE 1948, BANDOL. WERE
THE FIRST FILMMAKERS IN HISTORY. THEY PATENTED THE CINEMATOGRAPH, WHICH IN CONTRAST TO EDISON'S
"PEEPSHOW" KINETOSCOPE ALLOWED SIMULTANEOUS VIEWING BY MULTIPLE PARTIES.
THEIR FIRST FILM SORTIE DE L'USINE LUMIRE DE LYON (1895) IS CONSIDERED THE "FIRST TRUE MOTION PICTURE.
FIRST FILM SCREENINGS:
HTTPS://EN.WIKIPEDIA.ORG/WIKI/AUGUSTE_AND_LOUIS_LUMI%C3%A8RE
THE LUMIRES HELD THEIR FIRST PRIVATE SCREENING OF PROJECTED MOTION PICTURES IN 1895.[8] THE AMERICAN
WOODVILLE LATHAM HAD SCREENED WORKS OF FILM SEVEN MONTHS EARLIER, BUT THE FIRST PUBLIC SCREENING
OF FILMS AT WHICH ADMISSION WAS CHARGED WAS HELD ON DECEMBER 28, 1895, AT SALON INDIEN DU GRAND CAF
IN PARIS.[9][DUBIOUS DISCUSS] THIS HISTORY-MAKING PRESENTATION FEATURED TEN SHORT FILMS, INCLUDING
THEIR FIRST FILM, SORTIE DES USINES LUMIRE LYON (WORKERS LEAVING THE LUMIRE FACTORY).[10] EACH FILM
IS 17 METERS LONG, WHICH, WHEN HAND CRANKED THROUGH A PROJECTOR, RUNS APPROXIMATELY 50 SECONDS.
THE WORLD'S FIRST FILM POSTER, FOR 1895'S L'ARROSEUR ARROS. IT IS BELIEVED THEIR FIRST FILM WAS
ACTUALLY RECORDED THAT SAME YEAR (1895)[11] WITH LON BOULY'S CINMATOGRAPHE DEVICE, WHICH WAS
PATENTED THE PREVIOUS YEAR. THE CINMATOGRAPHE A THREE-IN-ONE DEVICE THAT COULD RECORD,
DEVELOP, AND PROJECT MOTION PICTURES WAS FURTHER DEVELOPED BY THE LUMIRES. THE PUBLIC DEBUT AT
THE GRAND CAF CAME A FEW MONTHS LATER
WILLIAM HORNER
WILLIAM GEORGE HORNER BORN 9 JUNE 1786 DIED 22 SEPTEMBER 1837) WAS A BRITISH MATHEMATICIAN; HE WAS A SCHOOLMASTER, HEADMASTER AND SCHOOLKEEPER, PROFICIENT IN CLASSICS
AS WELL AS MATHEMATICS, WHO WROTE EXTENSIVELY ON FUNCTIONAL EQUATIONS, NUMBER THEORY AND APPROXIMATION THEORY, BUT ALSO ON OPTICS. HIS CONTRIBUTION TO APPROXIMATION
THEORY IS HONOURED IN THE DESIGNATION HORNER'S METHOD, IN PARTICULAR RESPECT OF A PAPER IN PHILOSOPHICAL TRANSACTIONS OF THE ROYAL SOCIETY OF LONDON FOR 1819. THE
MODERN INVENTION OF THE ZOETROPE, UNDER THE NAME DAEDALEUM IN 1834, HAS BEEN ATTRIBUTED TO HIM. HORNER DIED COMPARATIVELY YOUNG, BEFORE THE ESTABLISHMENT OF SPECIALIST,
REGULAR SCIENTIFIC PERIODICALS. SO, THE WAY OTHERS HAVE WRITTEN ABOUT HIM HAS TENDED TO DIVERGE, SOMETIMES MARKEDLY, FROM HIS OWN PROLIFIC, IF DISPERSED, RECORD OF
PUBLICATIONS AND THE CONTEMPORARY RECEPTION OF THEM. THE ELDEST SON OF THE REV. WILLIAM HORNER, A WESLEYAN MINISTER, WAS BORN IN BRISTOL. HE WAS EDUCATED AT KINGSWOOD
SCHOOL, A WESLEYAN FOUNDATION NEAR BRISTOL, AND AT THE AGE OF SIXTEEN BECAME AN ASSISTANT MASTER THERE. IN FOUR YEARS HE ROSE TO BE HEADMASTER (1806), BUT LEFT IN 1809,
SETTING UP HIS OWN SCHOOL, THE CLASSICAL SEMINARY, AT GROSVENOR PLACE, BATH, WHICH HE KEPT UNTIL HE DIED THERE 22 SEPTEMBER 1837. HE AND HIS WIFE SARAH (1787?1864) HAD SIX
DAUGHTERS AND TWO SONS. ONE OF THE SONS, ANOTHER WILLIAM HORNER, CONTINUED TO RUN THE SCHOOL. HE, TOO, HAD A LARGE FAMILY; THE YOUNGEST WERE TWINS, CHARLES AND FRANCIS
JOHN HORNER (18521887). FRANCIS HORNER MATRICULATED AT ST. JOHN'S COLLEGE, CAMBRIDGE IN 1872, TAKING OUT A BA IN 1876 AND AN MA IN 1883. HE BECAME A LECTURER IN MATHEMATICS AT
THE UNIVERSITY IN SYDNEY, WHERE HE DIED AFTER ONLY A FEW YEARS - HE HAD BEEN ADVISED TO TRY A CHANGE OF CLIMATE ON ACCOUNT OF TUBERCULOSIS. A LONGER ASSOCIATION WITH
AUSTRALIA COMES THROUGH THE ISSUE OF HORNER'S DAUGHTER MARY, WHICH RETAINED THE NAME `HORNER' THROUGH SEVERAL GENERATIONS. MARY'S SON JOSEPH HORNER FLETCHER, WAS A
METHODIST SCHOOL HEADMASTER IN NEW ZEALAND AND THEN AUSTRALIA. NEVILLE HORNER FLETCHER (1930- ), FTSE, FAA, IS A PHYSICIST AT THE AUSTRALIAN NATIONAL UNIVERSITY. ON HORNER'S
DEATH IN 1837, SARAH HORNER LIVED WITH ANOTHER DAUGHTER, CHARLOTTE AUGUSTA (1819?--1863; M. 1849)), AND SON-IN-LAW, JOHN LA[U?]MBLE HARRISON (1820?--1877)), AND THEIR DAUGHTERS,
CHARLOTTE SARAH (B. 1852) AND ELIZABETH CAROLINE (B. 1856), AT 33, GROVESNOR PLACE, BATH. HORNER'S YOUNGEST BROTHER, JOSEPH HORNER, WAS ALSO AN ASSISTANT MASTER AT
KINGSWOOD SCHOOL, BUT IN 1834 MATRICULATED AS A MATURE STUDENT AT CLARE COLLEGE, CAMBRIDGE, STANDING TWELFTH WRANGLER IN THE MATHEMATICAL TRIPOS IN 1838 (THE SAME YEAR,
JOHN THOMPSON EXLEY, THE SON OF W. G. HORNER'S ASSOCIATE THOMAS EXLEY, STOOD TWENTY-THIRD). JOSEPH HORNER WAS A FELLOW OF CLARE COLLEGE AND THEN VICAR OF EVERTON WITH
TETSWORTH FROM 1839 UNTIL HIS DEATH IN 1875. HE, TOO, PUBLISHED IN MATHEMATICS. OTHER BROTHERS WERE THOMAS HORNER, WHO DIED YOUNG; JOHN HORNER, A WESLEYAN MINISTER IN
INDIA; AND JAMES HORNER, CABINET MAKER OF BATH. ACCORDING TO HORNER, JOHN HORNER WAS THE FIRST MISSIONARY TO COME OUT OF KINGSWOOD SCHOOL: HE TRANSLATED BEL AND THE
DRAGON INTO MARATHI AND HIS SON, HORNER'S NEPHEW, AGAIN JOHN HORNER, WAS TUTOR TO THE CHILDREN OF SERVANTS IN THE SOVEREIGN'S HOUSEHOLD.

RESEARCH: HTTP://TOMTYLDESLEYANIMATION1.BLOGSPOT.CO.UK/2011/06/ANIMATION-PIONEERS-WILLIAM-HORNER.HTML

WILLIAM HORNER WAS ANOTHER ANIMATION PIONEER, WHO CREATED THE ZOETROPE. HE CREATED THE ZOETROPE IN THE YEAR 1834.A ZOETROPE IS A DEVICE THAT PRODUCES AN ILLUSION OF
ACTION FROM A RAPID SUCCESSION. IT WAS BASICALLY A IMPROVEMENT ON THE PHENKITASCOPE. IT LEAD TO THE PRAXINOSCOPE BEING MADE AND ALSO LEAD TO ANIMATION BEING VIEWED
SIMPLER. THIS MADE ANIMATION EASIER TO BE SEEN BECAUSE IT HAD SMALL SLITS ON THE SIDE WHERE THE PERSON COULD LOOK INSIDE AND IT WOULD GIVE A BETTER EFFECT THAN A
PHENKITASCOPE. THE DESIGNS ON THE ZOETROPE VARY FROM ANIMALS TO FOOTBALL PLAYERS, AND IS STILL USED TODAY.
EMILE REYNAUD
CHARLES-MILE REYNAUD BORN 8 DECEMBER 1844 DIED 9 JANUARY 1918) WAS A FRENCH INVENTOR, RESPONSIBLE FOR THE FIRST PROJECTED ANIMATED
CARTOONS. REYNAUD CREATED THE PRAXINOSCOPE IN 1877 AND THE THTRE OPTIQUE IN DECEMBER 1888, AND ON 28 OCTOBER 1892 HE PROJECTED THE FIRST
ANIMATED FILM IN PUBLIC, PAUVRE PIERROT, AT THE MUSE GRVIN IN PARIS. THIS IS ALSO NOTABLE AS THE FIRST KNOWN INSTANCE OF FILM PERFORATIONS BEING
USED. REYNAUD'S LATE YEARS WERE TRAGIC AFTER 1910 WHEN, HIS CREATIONS OUTMODED BY THE CINEMATOGRAPH, DEJECTED AND PENNILESS, HE THREW THE
GREATER PART OF HIS IRREPLACEABLE WORK AND UNIQUE EQUIPMENT INTO THE SEINE. THE PUBLIC HAD FORGOTTEN HIS "THTRE OPTIQUE" SHOWS, WHICH HAD
BEEN A CELEBRATED ATTRACTION AT THE MUSE GREVIN BETWEEN 1892 AND 1900. HE DIED IN A HOSPICE ON THE BANKS OF THE SEINE WHERE HE HAD BEEN CARED
FOR SINCE 29 MARCH 1917.

PRAXINOSCOPE: HTTPS://EN.WIKIPEDIA.ORG/WIKI/PRAXINOSCOPE

THE PRAXINOSCOPE WAS AN ANIMATION DEVICE, THE SUCCESSOR TO THE ZOETROPE. IT WAS INVENTED IN FRANCE IN 1877 BY CHARLES-MILE REYNAUD. LIKE THE
ZOETROPE, IT USED A STRIP OF PICTURES PLACED AROUND THE INNER SURFACE OF A SPINNING CYLINDER. THE PRAXINOSCOPE IMPROVED ON THE ZOETROPE BY
REPLACING ITS NARROW VIEWING SLITS WITH AN INNER CIRCLE OF MIRRORS, PLACED SO THAT THE REFLECTIONS OF THE PICTURES APPEARED MORE OR LESS
STATIONARY IN POSITION AS THE WHEEL TURNED. SOMEONE LOOKING IN THE MIRRORS WOULD THEREFORE SEE A RAPID SUCCESSION OF IMAGES PRODUCING THE
ILLUSION OF MOTION, WITH A BRIGHTER AND LESS DISTORTED PICTURE THAN THE ZOETROPE OFFERED. IN 1889 REYNAUD DEVELOPED THE THTRE OPTIQUE, AN
IMPROVED VERSION CAPABLE OF PROJECTING IMAGES ON A SCREEN FROM A LONGER ROLL OF PICTURES. THIS ALLOWED HIM TO SHOW HAND-DRAWN ANIMATED
CARTOONS TO LARGER AUDIENCES, BUT IT WAS SOON ECLIPSED IN POPULARITY BY THE PHOTOGRAPHIC FILM PROJECTOR OF THE LUMIRE BROTHERS.

20TH CENTURY REVIAIL: THE RED RAVEN MAGIC MIRROR AND ITS SPECIAL CHILDREN'S PHONOGRAPH RECORDS, INTRODUCED IN THE US IN 1956, WAS A 20TH-
CENTURY ADAPTATION OF THE PRAXINOSCOPE. THE MAGIC MIRROR WAS A SIXTEEN-SIDED PRAXINOSCOPIC REFLECTOR WITH ANGLED FACETS. IT WAS PLACED
OVER THE RECORD PLAYER'S SPINDLE AND ROTATED ALONG WITH THE 78 RPM RECORD, WHICH HAD A VERY LARGE LABEL WITH A SEQUENCE OF SIXTEEN
INTERWOVEN ANIMATION FRAMES ARRAYED AROUND ITS CENTER. AS THE RECORD PLAYED, THE USER GAZED INTO THE MAGIC MIRROR AND SAW AN ENDLESSLY
REPEATING ANIMATED SCENE THAT ILLUSTRATED THE RECORDED SONG. IN THE 1960S, VERSIONS OF THE RED RAVEN SYSTEM WERE INTRODUCED IN EUROPE AND
JAPAN UNDER VARIOUS NAMESTEDDY IN FRANCE AND THE NETHERLANDS, MAMIL MOVITON IN ITALY, ETC.
EDWARD MUYBRIDGE
EADWEARD MUYBRIDGE BORN 9 APRIL 1830 DIED 8 MAY 1904, BORN EDWARD JAMES MUGGERIDGE) WAS AN ENGLISH PHOTOGRAPHER IMPORTANT FOR HIS PIONEERING WORK
IN PHOTOGRAPHIC STUDIES OF MOTION, AND EARLY WORK IN MOTION-PICTURE PROJECTION. HE ADOPTED THE NAME EADWEARD MUYBRIDGE, BELIEVING IT TO BE THE ORIGINAL
ANGLO-SAXON FORM OF HIS NAME. IN 1872, THE FORMER GOVERNOR OF CALIFORNIA, LELAND STANFORD, A BUSINESSMAN AND RACE-HORSE OWNER, HIRED MUYBRIDGE FOR
SOME PHOTOGRAPHIC STUDIES. HE HAD TAKEN A POSITION ON A POPULARLY DEBATED QUESTION OF THE DAY WHETHER ALL FOUR FEET OF A HORSE WERE OFF THE GROUND
AT THE SAME TIME WHILE TROTTING. IN 1872, MUYBRIDGE BEGAN EXPERIMENTING WITH AN ARRAY OF 12 CAMERAS PHOTOGRAPHING A GALLOPING HORSE IN A SEQUENCE OF
SHOTS. HIS INITIAL EFFORTS SEEMED TO PROVE THAT STANFORD WAS RIGHT, BUT HE DIDNT HAVE THE PROCESS PERFECTED. THE SAME QUESTION HAD ARISEN ABOUT THE
ACTIONS OF HORSES DURING A GALLOP. THE HUMAN EYE COULD NOT BREAK DOWN THE ACTION AT THE QUICK GAITS OF THE TROT AND GALLOP. UP UNTIL THIS TIME, MOST
ARTISTS PAINTED HORSES AT A TROT WITH ONE FOOT ALWAYS ON THE GROUND; AND AT A FULL GALLOP WITH THE FRONT LEGS EXTENDED FORWARD AND THE HIND LEGS
EXTENDED TO THE REAR, AND ALL FEET OFF THE GROUND. STANFORD SIDED WITH THE ASSERTION OF "UNSUPPORTED TRANSIT" IN THE TROT AND GALLOP, AND DECIDED TO HAVE
IT PROVEN SCIENTIFICALLY. STANFORD SOUGHT OUT MUYBRIDGE AND HIRED HIM TO SETTLE THE QUESTION. BETWEEN 1878 AND 1884, MUYBRIDGE PERFECTED HIS METHOD OF
HORSES IN MOTION, PROVING THAT THEY DO HAVE ALL FOUR HOOVES OFF THE GROUND DURING THEIR RUNNING STRIDE. IN 1872, MUYBRIDGE SETTLED STANFORD'S QUESTION
WITH A SINGLE PHOTOGRAPHIC NEGATIVE SHOWING HIS STANDARDBRED TROTTING HORSE OCCIDENT AIRBORNE AT THE TROT. THIS NEGATIVE WAS LOST, BUT THE IMAGE
SURVIVES THROUGH WOODCUTS MADE AT THE TIME (THE TECHNOLOGY FOR PRINTED REPRODUCTIONS OF PHOTOGRAPHS WAS STILL BEING DEVELOPED). HE LATER DID
ADDITIONAL STUDIES, AS WELL AS IMPROVING HIS CAMERA FOR QUICKER SHUTTER SPEED AND FASTER FILM EMULSIONS. BY 1878, SPURRED ON BY STANFORD TO EXPAND THE
EXPERIMENTS, MUYBRIDGE HAD SUCCESSFULLY PHOTOGRAPHED A HORSE AT A TROT LANTERN SLIDES HAVE SURVIVED OF THIS LATER WORK. SCIENTIFIC AMERICAN WAS AMONG
THE PUBLICATIONS AT THE TIME THAT CARRIED REPORTS OF MUYBRIDGE'S GROUND-BREAKING IMAGES. STANFORD ALSO WANTED A STUDY OF THE HORSE AT A GALLOP.
MUYBRIDGE PLANNED TO TAKE A SERIES OF PHOTOGRAPHS ON 15 JUNE 1878, AT STANFORD'S PALO ALTO STOCK FARM (NOW THE CAMPUS OF STANFORD UNIVERSITY). HE PLACED
NUMEROUS LARGE GLASS-PLATE CAMERAS IN A LINE ALONG THE EDGE OF THE TRACK; THE SHUTTER OF EACH WAS TRIGGERED BY A THREAD AS THE HORSE PASSED (IN LATER
STUDIES HE USED A CLOCKWORK DEVICE TO SET OFF THE SHUTTERS AND CAPTURE THE IMAGES). THE PATH WAS LINED WITH CLOTH SHEETS TO REFLECT AS MUCH LIGHT AS
POSSIBLE. HE COPIED THE IMAGES IN THE FORM OF SILHOUETTES ONTO A DISC TO BE VIEWED IN A MACHINE HE HAD INVENTED, WHICH HE CALLED A "ZOOPRAXISCOPE". THIS
DEVICE WAS LATER REGARDED AS AN EARLY MOVIE PROJECTOR, AND THE PROCESS AS AN INTERMEDIATE STAGE TOWARD MOTION PICTURES OR CINEMATOGRAPHY. THE STUDY
IS CALLED SALLIE GARDNER AT A GALLOP OR THE HORSE IN MOTION; IT SHOWS IMAGES OF THE HORSE WITH ALL FEET OFF THE GROUND. THIS DID NOT TAKE PLACE WHEN THE
HORSE'S LEGS WERE EXTENDED TO THE FRONT AND BACK, AS IMAGINED BY CONTEMPORARY ILLUSTRATORS, BUT WHEN ITS LEGS WERE COLLECTED BENEATH ITS BODY AS IT
SWITCHED FROM "PULLING" WITH THE FRONT LEGS TO "PUSHING" WITH THE BACK LEGS.
GEORGE PAL
GEORGE PAL BORN FEBRUARY 1, 1908 DIED MAY 2, 1980) WAS A HUNGARIAN ANIMATOR AND FILM PRODUCER, PRINCIPALLY ASSOCIATED WITH THE SCIENCE-
FICTION GENRE. HE BECAME AN AMERICAN CITIZEN AFTER EMIGRATING FROM EUROPE. HE GRADUATED FROM THE BUDAPEST ACADEMY OF ARTS IN 1928 (AGED
20). FROM 1928 TO 1931, HE MADE FILMS FOR HUNNIA FILMS OF BUDAPEST, HUNGARY. AT THE AGE OF 23 IN 1931, HE MARRIED ELISABETH "ZSOKA" GRANDJEAN,
AND MOVING TO BERLIN, FOUNDED TRICKFILM-STUDIO GMBH PAL UND WITTKE, WITH UFA STUDIOS AS ITS MAIN CUSTOMER FROM 1931 TO 1933. DURING THIS
TIME, HE PATENTED THE PAL-DOLL TECHNIQUE (KNOWN AS PUPPETOONS IN THE USA). IN 1933, HE WORKED IN PRAGUE; IN 1934, HE MADE A FILM ADVERTISEMENT
IN HIS HOTEL ROOM IN PARIS, AND WAS INVITED BY PHILIPS TO MAKE TWO MORE AD SHORTS. HE STARTED TO USE PAL-DOLL TECHNIQUES IN EINDHOVEN, IN A
FORMER BUTCHERY, THEN AT VILLA-STUDIO SUNY HOME. HE LEFT GERMANY AS THE NAZIS CAME TO POWER. HE MADE FIVE FILMS BEFORE 1939 FOR THE BRITISH
COMPANY HORLICKS MALTED MILK. IN DECEMBER OF THAT YEAR, AGED 32, HE EMIGRATED FROM EUROPE TO THE UNITED STATES,[2] AND BEGAN WORK FOR
PARAMOUNT PICTURES. AT THIS TIME, HIS FRIEND WALTER LANTZ HELPED HIM OBTAIN AMERICAN CITIZENSHIP. AS AN ANIMATOR, HE MADE THE PUPPETOONS
SERIES IN THE 1940S, WHICH LED TO HIM BEING AWARDED AN HONORARY OSCAR IN 1943 FOR "THE DEVELOPMENT OF NOVEL METHODS AND TECHNIQUES IN THE
PRODUCTION OF SHORT SUBJECTS KNOWN AS PUPPETOONS". PAL THEN SWITCHED TO LIVE-ACTION FILM-MAKING WITH THE GREAT RUPERT (1950). HE IS BEST
REMEMBERED AS THE PRODUCER OF SEVERAL SCIENCE-FICTION AND FANTASY FILMS IN THE 1950S, SUCH AS WHEN WORLDS COLLIDE,[3] AND 1960S, FOUR OF
WHICH WERE COLLABORATIONS WITH DIRECTOR BYRON HASKIN, INCLUDING THE WAR OF THE WORLDS (1953). HE HIMSELF DIRECTED TOM THUMB (1958), THE
TIME MACHINE (1960), AND THE WONDERFUL WORLD OF THE BROTHERS GRIMM (1962).

HE WAS NOMINATED FOR ACADEMY AWARDS (IN THE CATEGORY BEST SHORT SUBJECTS, CARTOON) FOR SEVEN CONSECUTIVE YEARS (19421948) AND RECEIVED
AN HONORARY AWARD IN 1944. THIS MAKES HIM THE SECOND-MOST NOMINATED HUNGARIAN EXILE (TOGETHER WITH WILLIAM S. DARLING AND ERNEST LASZLO)
AFTER MIKLS RZSA. HE HAS A STAR ON THE HOLLYWOOD WALK OF FAME AT 1722 VINE ST. IN 1980, THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES
FOUNDED THE "GEORGE PAL LECTURE ON FANTASY IN FILM" SERIES IN HIS MEMORY. GEORGE PAL (ALONG WITH THE FILM WHEN WORLDS COLLIDE) IS AMONG
THE MANY REFERENCES TO CLASSIC SCIENCE FICTION AND HORROR FILMS IN THE OPENING THEME ("SCIENCE FICTION/DOUBLE FEATURE") OF BOTH THE STAGE
MUSICAL THE ROCKY HORROR SHOW AND ITS CINEMATIC COUNTERPART, THE ROCKY HORROR PICTURE SHOW (1975). PAL'S PUPPETOONS "TULIPS SHALL GROW"
AND "JOHN HENRY AND THE INKY-POO" WERE ADDED TO THE LIBRARY OF CONGRESS 1997 AND 2015 NATIONAL FILM REGISTRY. ONE OF THE TUBBY THE TUBA
MODELS ALONG WITH A FROG AND THREE STRING INSTRUMENTS WERE DONATED TO THE SMITHSONIAN INSTITUTE FOR THE NATIONAL MUSEUM OF AMERICAN
HISTORY.
DEVELOPERS IN THE INDUSTRY
OVER THE NEXT THREE SLIDES I WILL BE DISCUSSING THE DIFFERENT DEVELOPERS THAT ARE IN THE
ANIMATION DEVELOPMENT INDUSTRY.

WILLIS OBRIEN
RAY HARRYHAUSEN
JAN VANKMAJER
WILLIS OBRIEN
WILLIS HAROLD O'BRIEN BORN MARCH 2, 1886 DIED NOVEMBER 8, 1962) WAS AN AMERICAN MOTION PICTURE SPECIAL EFFECTS AND STOP-MOTION ANIMATION
PIONEER, WHO ACCORDING TO ASIFA-HOLLYWOOD "WAS RESPONSIBLE FOR SOME OF THE BEST-KNOWN IMAGES IN CINEMA HISTORY," AND IS BEST REMEMBERED FOR
HIS WORK ON THE LOST WORLD (1925), KING KONG (1933) AND MIGHTY JOE YOUNG (1949), FOR WHICH HE WON THE 1950 ACADEMY AWARD FOR BEST VISUAL EFFECTS.
HE FIRST LEFT HOME AT THE AGE OF ELEVEN TO WORK ON CATTLE RANCHES, AND AGAIN AT THE AGE OF THIRTEEN WHEN HE TOOK ON A VARIETY OF JOBS INCLUDING
FARMHAND, FACTORY WORKER, FUR TRAPPER, COWBOY, AND BARTENDER. DURING THIS TIME HE ALSO COMPETED IN RODEOS AND DEVELOPED AN INTEREST IN
DINOSAURS WHILE WORKING AS A GUIDE TO PALAEONTOLOGISTS IN CRATER LAKE REGION.

HE FIRST LEFT HOME AT THE AGE OF ELEVEN TO WORK ON CATTLE RANCHES, AND AGAIN AT THE AGE OF THIRTEEN WHEN HE TOOK ON A VARIETY OF JOBS INCLUDING
FARMHAND, FACTORY WORKER, FUR TRAPPER, COWBOY, AND BARTENDER. DURING THIS TIME HE ALSO COMPETED IN RODEOS AND DEVELOPED AN INTEREST IN
DINOSAURS WHILE WORKING AS A GUIDE TO PALAEONTOLOGISTS IN CRATER LAKE REGION. HE SPENT HIS SPARE TIME SCULPTING AND ILLUSTRATING AND HIS NATURAL
TALENT LED TO HIM BEING EMPLOYED FIRST AS DRAFTSMAN IN AN ARCHITECT'S OFFICE AND THEN AS A SPORTS CARTOONIST FOR THE SAN FRANCISCO DAILY NEWS.
DURING THIS TIME HE ALSO BECAME A PROFESSIONAL BOXER, WINNING HIS FIRST NINE BOUTS BUT RETIRING AFTER AN UNSUCCESSFUL TENTH. HE SUBSEQUENTLY
WORKED FOR THE RAILROAD, FIRST AS A BRAKEMAN AND LATER A SURVEYOR, AS A PROFESSIONAL MARBLE SCULPTOR, AND WAS ASSISTANT TO THE HEAD ARCHITECT
OF THE 1915 SAN FRANCISCO WORLD'S FAIR, WHERE SOME OF HIS WORK WAS DISPLAYED. DURING THIS TIME HE MADE MODELS, INCLUDING A DINOSAUR AND A
CAVEMAN, WHICH HE ANIMATED WITH THE ASSISTANCE OF A LOCAL NEWSREEL CAMERAMAN. SAN FRANCISCO EXHIBITOR HERMAN WOBBER SAW THIS 90-SECOND TEST
FOOTAGE AND COMMISSIONED O'BRIEN TO MAKE HIS FIRST FILM, THE DINOSAUR AND THE MISSING LINK: A PREHISTORIC TRAGEDY (1915) FOR A BUDGET OF $5,000.
THOMAS EDISON WAS IMPRESSED BY THE FILM AND O'BRIEN WAS HIRED BY THE EDISON COMPANY TO ANIMATE A SERIES OF SHORT FILMS WITH A PREHISTORIC THEME,
THESE INCLUDED R.F.D. 10,000 B.C. AND PREHISTORIC POULTRY (BOTH 1917). DURING THIS TIME HE ALSO WORKED ON OTHER EDISON COMPANY PRODUCTIONS
INCLUDING SAM LOYD'S THE PUZZLING BILLBOARD AND NIPPY'S NIGHTMARE (BOTH 1917), WHICH WERE THE FIRST STOP-MOTION FILMS TO COMBINE LIVE ACTORS WITH
STOP MOTION MODELS. THESE FILMS LED TO A COMMISSION FROM HERBERT M. DAWLEY TO WRITE, DIRECT, CO-STAR AND PRODUCE THE EFFECTS FOR ANOTHER
DINOSAUR FILM, THE GHOST OF SLUMBER MOUNTAIN (1918), FOR A BUDGET OF $3,000. THE COLLABORATION WAS NOT A HAPPY ONE AND DAWLEY WOULD CUT THE 45-
MINUTE FILM DOWN TO 11 MINUTES AND CLAIM CREDIT FOR O'BRIEN'S PIONEERING EFFECTS WORK, WHICH COMBINED REALISTIC STOP-MOTION ANIMATED
PREHISTORIC MODELS WITH LIVE ACTION. THE FILM GROSSED OVER $100,000 AND DAWLEY USED THE CUT EFFECTS FOOTAGE IN A SEQUEL ALONG THE MOONBEAM
TRAIL (1920) AND THE DOCUMENTARY EVOLUTION (1923), BUT O'BRIEN RECEIVED LITTLE FINANCIAL REIMBURSEMENT FROM THIS SUCCESS.
RAY HARRYHAUSEN
RAYMOND FREDERICK "RAY" HARRYHAUSEN BORN JUNE 29, 1920 DIED MAY 7, 2013 WAS AN AMERICAN VISUAL EFFECTS CREATOR,
WRITER, AND PRODUCER WHO CREATED A FORM OF STOP-MOTION MODEL ANIMATION KNOWN AS "DYNAMATION.HIS MOST MEMORABLE
WORKS INCLUDE THE ANIMATION ON MIGHTY JOE YOUNG (1949), WITH HIS MENTOR WILLIS H. O'BRIEN, WHICH WON THE ACADEMY AWARD
FOR BEST VISUAL EFFECTS; THE 7TH VOYAGE OF SINBAD (1958), HIS FIRST COLOR FILM; AND JASON AND THE ARGONAUTS (1963),
FEATURING A FAMOUS SWORD FIGHT WITH SEVEN SKELETON WARRIORS. HIS LAST FILM WAS CLASH OF THE TITANS (1981), AFTER WHICH
HE RETIRED.HARRYHAUSEN MOVED TO THE UNITED KINGDOM AND LIVED IN LONDON FROM 1960 UNTIL HIS DEATH IN 2013. DURING HIS
LIFE, HIS INNOVATIVE STYLE OF SPECIAL EFFECTS IN FILMS INSPIRED NUMEROUS FILMMAKERS INCLUDING GEORGE LUCAS, STEVEN
SPIELBERG, JOHN LASSETER, PETER JACKSON, JOHN LANDIS, JOE DANTE, HENRY SELICK AND TIM BURTON.
DURING THE 1980S AND EARLY 1990S, THOSE OF HARRYHAUSEN'S GROWING LEGION OF FANS WHO HAD GRADUATED INTO THE
PROFESSIONAL FILM INDUSTRY, STARTED LOBBYING THE ACADEMY OF MOTION PICTURE ARTS AND SCIENCES TO ACKNOWLEDGE
HARRYHAUSEN'S CONTRIBUTION TO THE FILM INDUSTRY AND HE WAS FINALLY AWARDED A GORDON E. SAWYER AWARD FOR
"TECHNOLOGICAL CONTRIBUTIONS [WHICH] HAVE BROUGHT CREDIT TO THE INDUSTRY" IN 1992, WITH ACTOR TOM HANKS AS THE MASTER
OF CEREMONIES AND BRADBURY, A FRIEND FROM WHEN THEY WERE BOTH JUST OUT OF HIGH SCHOOL, PRESENTING THE AWARD.[16]
AFTER THE PRESENTATION TO HARRYHAUSEN, ACTOR TOM HANKS TOLD THE AUDIENCE, "SOME PEOPLE SAY CASABLANCA OR CITIZEN
KANE...I SAY JASON AND THE ARGONAUTS IS THE GREATEST FILM EVER MADE!" A LONG SERIES OF APPEARANCES AT FILM FESTIVALS,
COLLEGES, AND FILM SEMINARS AROUND THE WORLD SOON FOLLOWED AS HARRYHAUSEN MET MANY OF THE MILLIONS OF PEOPLE WHO
HAD GROWN UP ENJOYING HIS WORK.

THE WORK OF RAY HARRYHAUSEN WAS CELEBRATED IN AN EXHIBITION AT LONDON'S MUSEUM OF THE MOVING IMAGE (MOMI) IN 1990.
IN 2010 THE MAIN SCREENING THEATER AT SONY PICTURES DIGITAL PRODUCTIONS WAS NAMED IN HONOR OF HARRYHAUSEN.
THE SCIENCE FICTION HALL OF FAME INDUCTED HARRYHAUSEN IN 2005, THE FIRST YEAR IT HONORED NON-LITERARY CONTRIBUTORS.HE
RECEIVED THE ANNUAL BRITISH FANTASY SOCIETY WAGNER AWARD IN 2008 FOR HIS LIFETIME CONTRIBUTION TO THE GENRE. ON JUNE
10, 2003, HARRYHAUSEN WAS HONORED WITH A STAR ON THE HOLLYWOOD WALK OF FAME.
JAN VANKMAJER
JAN VANKMAJER BORN 4 SEPTEMBER 1934) IS A CZECH FILMMAKER AND ARTIST WHOSE WORK SPANS SEVERAL MEDIA. HE IS A SELF-LABELED
SURREALIST KNOWN FOR HIS ANIMATIONS AND FEATURES, WHICH HAVE GREATLY INFLUENCED OTHER ARTISTS SUCH AS TERRY GILLIAM, THE BROTHERS
QUAY, AND MANY OTHERS. JAN VANKMAJER IS A CZECH ANIMATOR AND FILMMAKER BORN IN PRAGUE. AN EARLY INFLUENCE ON HIS LATER ARTISTIC
DEVELOPMENT WAS A PUPPET THEATRE HE WAS GIVEN FOR CHRISTMAS AS A CHILD. UNDER THE INFLUENCE OF THEORETICIAN VRATISLAV
EFFENBERGER VANKMAJER MOVED FROM THE MANNERISM OF HIS EARLY WORK TO CLASSIC SURREALISM, FIRST MANIFESTED IN HIS FILM THE GARDEN
(1968), AND JOINED THE CZECHOSLOVAKIAN SURREALIST GROUP. HE WAS MARRIED TO EVA VANKMAJEROV, AN INTERNATIONALLY KNOWN SURREALIST
PAINTER, CERAMICIST, AND WRITER UNTIL HER DEATH IN OCTOBER 2005 HE CONTINUES TO MAKE FILMS IN PRAGUE. VANKMAJER'S TRADEMARKS
INCLUDE VERY EXAGGERATED SOUNDS, OFTEN CREATING A VERY STRANGE EFFECT IN ALL EATING SCENES. HE OFTEN USES FAST-MOTION SEQUENCES
WHEN PEOPLE WALK OR INTERACT. HIS MOVIES OFTEN INVOLVE INANIMATE OBJECTS BEING BROUGHT TO LIFE THROUGH STOP MOTION. MANY OF HIS
FILMS ALSO INCLUDE CLAY OBJECTS IN STOP MOTION, OTHERWISE KNOWN AS CLAYMATION. FOOD IS A FAVOURITE SUBJECT AND MEDIUM. VANKMAJER
ALSO USES PIXILATION IN MANY OF HIS FILMS,. AMONG HIS BEST KNOWN WORKS ARE THE FEATURE FILMS ALICE (1988), FAUST (1994), CONSPIRATORS OF
PLEASURE (1996), LITTLE OTIK (2000) AND LUNACY (2005), A SURREAL COMIC HORROR BASED ON TWO WORKS OF EDGAR ALLAN POE AND THE LIFE OF
MARQUIS DE SADE. THE TWO STORIES BY POE, "THE SYSTEM OF DOCTOR TARR AND PROFESSOR FETHER" AND "THE PREMATURE BURIAL", PROVIDE
LUNACY ITS THEMATIC FOCUS, WHEREAS THE LIFE OF MARQUIS DE SADE PROVIDES THE FILM'S BLASPHEMY. ALSO FAMOUS (AND MUCH IMITATED) IS THE
SHORT DIMENSIONS OF DIALOGUE (1982), SELECTED BY TERRY GILLIAM AS ONE OF THE TEN BEST ANIMATED FILMS OF ALL TIME.[4] HIS FILMS HAVE BEEN
CALLED "AS EMOTIONALLY HAUNTING AS KAFKA'S STORIES."[5] HIS LATEST FILM IS SURVIVING LIFE FROM 2010. IT HAS A PROJECTED BUDGET OF 40
MILLION CZK AND A PRELIMINARY RELEASE SET FOR 2017. THE FILM WILL BE BASED ON THE PLAY PICTURES FROM THE INSECTS' LIFE BY KAREL APEK,
WHICH VANKMAJER DESCRIBES AS FOLLOWING: "THIS APEKS PLAY IS A VERY MISANTHROPIC, AND I ALWAYS LIKED IT BUGS BEHAVE AS A HUMAN
BEINGS, AND PEOPLE BEHAVE AS INSECTS.. ON 27 JULY 2013 HE RECEIVED THE INNOVATION & CREATIVITY PRIZE BY CIRCOLINO DEI FILMS, AN
INDEPENDENT ITALIAN CULTURAL ORGANIZATION. ON 10 JULY 2014, HE RECEIVED THE 2014 FIAF AWARD DURING A SPECIAL CEREMONY OF THE KARLOVY
VARY INTERNATIONAL FILM FESTIVAL.
CONCLUSION

HERE I HAVE LOOKED AT THE MORE WELL KNOWN DEVELOPERS WITHIN THE ANIMATION INDUSTRY
AND WHAT IT IS THEY ARE BEST KNOWN FOR THIS HELPS TO GIVE ME AN IDEA OF WHAT STYLE I
WANT TO GO FOR WHEN IT COMES TO MY ANIMATION AND ALSO HOW THE VERY BASICS OF
ANIMATION STARTED OUT.
ANIMATION CONTEMPORARY WORK
CONTEMPORARY IN THE INDUSTRY
OVER THE NEXT THREE SLIDES I WILL BE DISCUSSING THE CONTEMPORARY WORK WITHIN THE ANIMATION
INDUSTRY

THE BROTHERS QUAY

TIM BURTON
AARDMAN ANIMATIONS
THE BROTHERS QUAY
STEPHEN AND TIMOTHY QUAY BORN JUNE 17, 1947 ARE AMERICAN IDENTICAL TWIN BROTHERS BETTER KNOWN AS THE BROTHERS QUAY OR QUAY BROTHERS. THEY ARE INFLUENTIAL STOP-
MOTION ANIMATORS. THEY ARE ALSO THE RECIPIENTS OF THE 1998 DRAMA DESK AWARD FOR OUTSTANDING SET DESIGN FOR THEIR WORK ON THE PLAY THE CHAIRS.

CHRISTOPHER NOLAN, DIRECTOR OF MEMENTO, THE PRESTIGE, INCEPTION, INTERSTELLAR AND THE DARK KNIGHT TRILOGY IS USING SOME OF HIS CONSIDERABLE INDUSTRY CLOUT TO
PROMOTE A PROGRAMME OF NEWLY SCRUBBED-UP 35MM SHORT FILMS BY STOP-MOTION ANIMATORS THE BROTHERS QUAY. IN ADDITION TO IN ABSENTIA (2000), THE COMB (1991) AND STREET OF
CROCODILES (1986), THE COLLECTION INCLUDES QUAY, AN EIGHT-MINUTE MINI-DOCUMENTARY OF THE BROTHERS IN THEIR CRAMPED, MAGICAL LONDON STUDIO FILLED WITH DECAYING DOLL
PARTS, SCREWS, WIGS CHEWED BY BUGS AND OLD CAMERAS. THIS MEN-BEHIND-THE-CURTAIN PEEK IS DIRECTED, SHOT, EDITED AND SCORED BY NOLAN, AND IS ESSENTIALLY THE MOVIE
VERSION OF A FAN WINNING WONKAS GOLDEN TICKET AND POKING AROUND THE FACTORY. QUAY WAS SHOT ON FILM (RARE FOR A DOCUMENTARY) AND PROJECTED IN FILM FORMAT (VIRTUALLY
UNHEARD OF THESE DAYS) AT ITS DEBUT AT NEW YORKS FILM FORUM, KICKING OFF AN 11-CITY NORTH AMERICAN TOUR. AFTER THE FOUR SHORTS, NOLAN IS JOINED AT THE FRONT OF THE
SCREENING ROOM BY THE 68-YEAR-OLD IDENTICAL TWIN BROTHERS TIMOTHY AND STEPHEN QUAY FOR A LOW-KEY TALK LIGHT ON REVELATIONS BUT HEAVY ON SIZEABLE GRINS. THE QUAYS
(PRONOUNCED KWAYZ, NOT KEYS) WEAR THEIR HAIR WILD AND WAVY AND THEIR SHIRT COLLARS OPEN. THE PENNSYLVANIA NATIVES HAVE LIVED IN ENGLAND FOR DECADES, GIVING THEM AN
UNUSUAL ACCENT THAT MAKES THEM SOUND EVEN MORE SEALED OFF FROM THE REST OF THE WORLD THAN THEIR JOB REQUIRES. AFTER SAYING HOW GREAT IT IS TO SEE THEIR WORK
PROJECTED AGAIN ON 35MM, THEIR NEW BENEFACTOR COMES IN WITH SOME EXTREMELY SPECIFIC QUESTIONS ABOUT SOUND DESIGN AND LIGHTING TECHNIQUES WITH A PALPABLE ZEAL TO
JUST GET THESE TWO MEN TALKING ABOUT THEIR PROCESS. IN ABSENTIA WAS A BBC COMMISSION FOR A SERIES CALLED SOUND ON FILM. AVANT-GARDE COMPOSER KARLHEINZ STOCKHAUSEN
RECORDED A PIECE OF MUSIC THAT THE BROTHERS WERE TASKED TO INCORPORATE INTO A 20-MINUTE SHORT. (OTHER PAIRINGS IN THE SERIES INCLUDED NICOLAS ROEG AND ADRIAN UTLEY OF
PORTISHEAD, HAL HARTLEY AND LOUIS ANDRIESSEN AND WERNER HERZOG AND SIR JOHN TAVENER.) WORKING WITH STOCKHAUSEN WAS AN UNUSUAL EXPERIENCE, BOTH BROTHERS RECALL.
TIMOTHY REMEMBERS HOW, IN APRIL OF THAT YEAR, STOCKHAUSEN TOLD THEM THAT THE MUSIC WOULD ARRIVE ON EXACTLY 21 AUGUST AT PRECISELY NOON. WHICH IT DID. WHEN THE GERMAN
COMPOSER VISITED THEIR STUDIO TO CHECK OUT AN EARLY CUT, HIS ONLY SUGGESTION WAS THAT THEY ADD SOME BLUE. IN ABSENTIA WAS INSPIRED BY A GALLERY EXHIBIT THAT FEATURED
ARTEFACTS FROM A MENTAL ASYLUM, INCLUDING LETTERS A WOMAN WROTE TO HER HUSBAND DAILY, BUT DID NOT SEND. ALL OF THE QUAYS FILMS HAVE WHIFFS OF TRADITIONAL NARRATIVE,
BUT THE SURREAL STOP-MOTION, WHICH TEETERS BETWEEN THE PLAYFUL AND THE EERIE, TENDS TO EVOKE MORE TONE THAN STORY. STREET OF CROCODILES, THE FILM THAT PUT THE QUAYS
ON THE MAP, BASED ON A SHORT STORY BY BRUNO SCHULZ, IS A WORDLESS FEVER DREAM IN WHICH A PUPPET HAS HIS STRINGS SNIPPED AND EXPLORES AN UNDERWORLD OF ANIMATED
HOUSEHOLD ITEMS SUCH AS LIGHTBULB CREATURES AND GHOSTLY ILLUMINATED DOLLHEADS. WHILE DRAWING SOME DEGREE OF INFLUENCE FROM MASTER CZECH ANIMATOR JAN
SVANKMAJER, STREET OF CROCODILES WAS UNLIKE ANYTHING ELSE HAPPENING IN THE MID-1980S, AND HAD AN ENORMOUS IMPACT ON EVERYTHING FROM DESIGN TO ROCK VIDEOS WHEN IT
WAS RELEASED. STILL FROM STREET OF CROCODILES (1986) AN INTELLIGENT BLUFF STILL FROM THE QUAY BROTHERS STREET OF CROCODILES (1986). PHOTOGRAPH: ZEITGEIST FILMS IN
QUAY, WE GET A GLIMPSE AT THESE ICONIC DOLLHEADS, AS THE BROTHERS SHOW HOW THEIR LOOK CHANGES IN NATURAL LIGHT. THEIR STUDIO CLUTTERED WITH LO-FI TOOLS SUCH AS BITS
OF GLASS FROSTED WITH LAUNDRY SOAP FEATURES A PROMINENT WINDOW AROUND WHICH THEY PLACE MIRRORS TO ANGLE THE RAYS OF THE SUN. HOWEVER, IN BRITAIN, THEY ADD, YOU
NEVER QUITE GET A CLEAR SUNNY DAY. INDEED, UNEXPECTED CLOUDS HAVE LONG BEEN ONE OF THE HAPPY ACCIDENTS THEY RELY ON. SO MUCH OF THEIR WORK IS INTENSELY DETAILED AND
METICULOUS, WHICH BALANCES NICELY WITH, SAY, UNUSUAL SHADINGS THEY DISCOVER WHEN THE FILM COMES BACK FROM THE LAB.
TIM BURTON
TIM BURTON (BORN AUGUST 25, 1958) IS AN AMERICAN FILM DIRECTOR, FILM PRODUCER, WRITER AND ARTIST AND
ANIMATOR. HE IS KNOWN FOR HIS DARK, GOTHIC AND QUIRKY FANTASY FILMS SUCH AS BEETLEJUICE (1988), EDWARD
SCISSORHANDS (1990), THE ANIMATED MUSICAL THE NIGHTMARE BEFORE CHRISTMAS (1993), THE BIOGRAPHICAL FILM
ED WOOD (1994), THE HORROR FANTASY SLEEPY HOLLOW (1999), AND LATER EFFORTS SUCH AS CORPSE BRIDE (2005),
SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (2007), DARK SHADOWS (2012) AND FRANKENWEENIE (2012). HE
IS ALSO KNOWN FOR BLOCKBUSTERS SUCH AS THE ADVENTURE COMEDY PEE-WEE'S BIG ADVENTURE (1985), THE
SUPERHERO FILMS BATMAN (1989) AND ITS FIRST SEQUEL BATMAN RETURNS (1992), THE SCI-FI FILM PLANET OF THE
APES (2001), THE MUSICAL ADVENTURE FILM CHARLIE AND THE CHOCOLATE FACTORY (2005) AND THE FANTASY FILM
ALICE IN WONDERLAND (2010), WHICH GARNERED A WORLDWIDE GROSS OF OVER $1 BILLION.
BURTON HAS WORKED REPEATEDLY WITH JOHNNY DEPP, WHO HAS BECOME A CLOSE FRIEND OF BURTON SINCE THEIR
FIRST FILM TOGETHER. HE HAS ALSO WORKED WITH MUSICIAN DANNY ELFMAN, WHO HAS COMPOSED SCORES FOR ALL
BUT THREE OF THE FILMS BURTON HAS DIRECTED. ACTRESS HELENA BONHAM CARTER, BURTON'S FORMER DOMESTIC
PARTNER, HAS APPEARED IN MANY OF HIS FILMS. HE ALSO WROTE AND ILLUSTRATED THE POETRY BOOK THE
MELANCHOLY DEATH OF OYSTER BOY & OTHER STORIES, PUBLISHED IN 1997 BY FABER AND FABER, AND A COMPILATION
OF HIS DRAWINGS, SKETCHES AND OTHER ARTWORK, ENTITLED THE ART OF TIM BURTON, WAS RELEASED IN 2009. A
FOLLOW-UP TO THE ART OF TIM BURTON, ENTITLED THE NAPKIN ART OF TIM BURTON: THINGS YOU THINK ABOUT IN A
BAR, CONTAINING SKETCHES MADE BY BURTON IN NAPKINS AT BARS AND RESTAURANTS HE OCCASIONALLY VISITS, WAS
RELEASED IN 2015. BOTH COMPILATIONS WERE PUBLISHED BY STEELES PUBLISHING.
AARDMAN ANIMATIONS
AARDMAN ANIMATIONS, LTD., ALSO KNOWN AS AARDMAN STUDIOS, OR SIMPLY AS AARDMAN, IS A BRITISH ANIMATION STUDIO BASED IN BRISTOL. AARDMAN IS KNOWN FOR FILMS MADE USING STOP-MOTION CLAY
ANIMATION TECHNIQUES, PARTICULARLY THOSE FEATURING PLASTICINE CHARACTERS WALLACE AND GROMIT. AFTER SOME EXPERIMENTAL COMPUTER ANIMATED SHORT FILMS DURING THE LATE 1990S,
BEGINNING WITH OWZAT (1997), IT ENTERED THE COMPUTER ANIMATION MARKET WITH FLUSHED AWAY (2006). AARDMAN FILMS HAVE MADE $972.1 MILLION WORLDWIDE AND AVERAGE $163 MILLION PER FILM. ALL
OF THEIR STOP MOTION FILMS ARE AMONG THE HIGHEST-GROSSING STOP-MOTION FILMS, WITH THEIR DEBUT, CHICKEN RUN, BEING THEIR TOP-GROSSING FILM[1] AS WELL AS THE HIGHEST-GROSSING STOP-
MOTION FILM OF ALL TIME.

THE COMPANY NAME IS TAKEN FROM ONE OF ITS EARLY CHARACTERS, A SUPERHERO CREATED FOR VISION ON IN 1972. UNLIKE THE CLAYMATION PRODUCTIONS THAT THE COMPANY ARE FAMOUS FOR, AARDMAN
WAS CEL-ANIMATED. THE NAME DERIVES FROM THE DUTCH PHRASE "AARD MAN" MEANING NATURE MAN, WHEN JOINED TOGETHER, "AARDMAN" BECOMES "EARTHMAN" MORE COMMONLY TRANSLATED TO:
"GOBLIN". HOWEVER, CO-FOUNDER DAVID SPROXTON HAS CLAIMED THAT THE NAME WAS A RESULT OF BEING UNABLE TO "FIND ANOTHER WORD WITH MORE A'S IN IT THAN 'AARDVARK'" AS SCHOOLBOYS.

2007- PRESENT:IN APRIL 2007, AARDMAN SIGNED AND IN 2010 RENEWED[18] A THREE-YEAR DEAL WITH SONY PICTURES ENTERTAINMENT TO FINANCE, CO-PRODUCE AND DISTRIBUTE FEATURE FILMS. THE NEXT
YEAR, AARDMAN RELEASED A NEW WALLACE AND GROMIT SHORT FILM, CALLED A MATTER OF LOAF AND DEATH. THE FIRST FILM MADE IN PARTNERSHIP WITH SONY WAS COMPUTER-ANIMATED ARTHUR CHRISTMAS
(2011), WHICH IS AARDMAN'S FIRST 3-D FEATURE FILM. 2012 WAS THE RELEASE OF THE PIRATES! IN AN ADVENTURE WITH SCIENTISTS (KNOWN INTERNATIONALLY AS THE PIRATES! BAND OF MISFITS), AARDMAN'S
FIRST 3-D STOP-MOTION FILM AND PETER LORD'S FIRST FILM AS A DIRECTOR SINCE CHICKEN RUN. ADDITIONAL TWO FILMS WERE ANNOUNCED IN JUNE 2007: THE CAT BURGLARS, A STOP-MOTION DIRECTED BY
STEVE BOX, ABOUT CATS THAT STEAL MILK, AND THEIR PLANS TO PULL OFF 'THE GREAT MILK FLOAT ROBBERY'; AND AN UNTITLED NICK PARK PROJECT. AARDMAN IS ALSO KNOWN TO PROVIDE GENEROUS
RESOURCES AND TRAINING TO YOUNG ANIMATORS BY PROVIDING AWARDS AT VARIOUS ANIMATION FESTIVALS. FOR EXAMPLE, THE AARDMAN AWARD AT THE UK'S ANIMEX FESTIVAL IN TEESSIDE PROVIDES WORLD
CLASS STORY CONSULTATION TO A PROMISING YOUNG ANIMATOR, FOR THEIR NEXT FILM. IN 2008, AARDMAN JOINED WITH CHANNEL 4 AND LUPUS FILMS TO LAUNCH A USER-GENERATED CONTENT ANIMATION
PORTAL CALLED 4MATIONS. THEY ALSO DESIGNED THE BBC ONE CHRISTMAS IDENTS FOR THAT YEAR, WHICH FEATURED WALLACE AND GROMIT TO TIE IN WITH THE SHOWING OF THE NEW WALLACE AND GROMIT
FILM CALLED A MATTER OF LOAF AND DEATH ON CHRISTMAS DAY AT 8:30PM. IN APRIL 2008, AARDMAN LAUNCHED THE AARDMAN YOUTUBE CHANNEL, WHICH IS A YOUTUBE PARTNER CHANNEL FEATURING THE
ENTIRE CREATURE COMFORTS TV SERIES, THE MORPH SERIES, CRACKING CONTRAPTIONS AND CLIPS FROM THE WALLACE AND GROMIT FILMS. FROM DECEMBER 2008, AARDMAN ALSO STARTED POSTING
VARIOUS FLASH GAMES ON NEWGROUNDS, THE MAJORITY OF WHICH ARE BASED ON WALLACE & GROMIT AND SHAUN THE SHEEP. IN 2009, NINTENDO ANNOUNCED THAT AARDMAN WOULD MAKE TWELVE SHORT
FILMS USING ONLY FLIPNOTE STUDIO FROM NINTENDO DSI. THE FILMS WERE POSTED ON FLIPNOTE'S HATENA WEB SERVICE PROVIDER. THE FIRST FILM WAS CALLED THE SANDWICH TWINS AND WAS RELEASED
ON 16 SEPTEMBER 2009. THE REMAINING ELEVEN FILMS WERE RELEASED ON A WEEKLY BASIS UNTIL CHRISTMAS, AND CAN ALSO BE DOWNLOADED USING HATENA. IN OCTOBER 2013, PETER LORD (CO-FOUNDER
OF AARDMAN ANIMATIONS) CREATED A FUND RAISING PROJECT ON THE CROWDFUNDING SITE KICKSTARTER. THE CAMPAIGN HAS A TARGET OF 75,000 WHICH WILL BE USED TO FUND 12 NEW ONE-MINUTE
EPISODES OF MORPH. LORD IS HOPING TO START PRODUCTION IN JANUARY 2014 USING THE ORIGINAL STOP-FRAME ANIMATION. BACKERS OF THE PROJECT WILL RECEIVE A VARIETY OF REWARDS, INCLUDING
EARLY ACCESS TO THE NEW ANIMATIONS AND A SMALL BOX OF CLAY USED IN THE PRODUCTION, DEPENDING ON THE INDIVIDUAL'S LEVEL OF FUNDING. IN 2015, THE COMPANY BOUGHT A MAJORITY SHARE IN NEW
YORK-BASED ANIMATION STUDIO NATHAN LOVE, ANNOUNCING THE MERGER WITH A SHORT FILM CALLED INTRODUCING: AARDMAN NATHAN LOVE IN 25 SEPTEMBER OF THE SAME YEAR .
CONCLUSION

I LOOKED AT THREE DIFFERENT MAJOR NAMES IN AMINATION AND THE STYLE OF THEIR WORK
MY CONCLUSION FOR ANIMATION CONTEMPORARY WORK IS THAT SEEN AS I WILL BE DOING A
STOP MOTION CLAY ANIMATION IS THAT THERE ARE DIFFERENT STYLES THAT YOU ARE ABLE TO
DO THIS IN HOWEVER I WILL BE GOING FOR A MORE CARTOON LOOK AND THEREFORE WILL BE
TAKING MORE AFTER AARDMAN ANIMATION PRODUCTIONS WHEN IT COMES TO THE STYLE OF
WHAT MY ANIMATION IS GOING TO LOOK LIKE.
ANIMATION FORMS AND USE
MUSIC VIDEOS
HERE ARE SOME EXAMPLES OF THE MOST ICONIC CLASHES OF MUSIC AND ANIMATION.

MOVE YOUR FEET- JUNIOR/SENIOR

DO I WANNA KNOW?- ARCTIC MONKEYS. THE MUSIC VIDEO FEATURED SIMPLE BUT
UNCONVERTABLE TECHNIQUES
AS WELL AS THESE MUSIC VIDEOS JUST BEING ANIMATED THERE ARE ALSO MUSIC
VIDEOS THAT CONTAIN LIVE ACTION AN EXAMPLE OF THIS IS

LEAVE ME ALONE- MICHAEL JACKSON

MONEY FOR NOTHING- DIRE STRAITS. THE INNOVATED MUSIC VIDEO MADE WAVES
AS IT WAS ONE OF THE FIRST MUSIC VIDEOS TO SHOWCASE COMPUTER ANIMATION
TECHNIQUES.
ADVERTISING
USING ANIMATION IN ADVERTS CAN RANGE FROM THE WHOLE OF THE ADVERT
BEING ANIMATED OR JUST A SELECT PART BY USING CGI. AN EXAMPLE OF ANIMATED
ADVERTS MOST POPULARLY KNOW ARE CHANGE FOR LIFE AND LLOYDS TSB WHERE
ALL OF THE ADVERT IS ANIMATED AND ALSO THE KELLOGG'S FROSTIEST ADVERT
WHERE ONLY TONY THE TIGER IS ANIMATED AND ALSO COMPARE THE MARKET.
TV PROGRAMMES

THE MOST COMMON FORMS OF ANIMATION WHEN IT COMES TO TV IS CHILDRENS

PROGRAMS SUCH AS PEPPER PIG AND SPONGEBOB SQUAREPANTS ETC. CARTOONS
FOR ADULTS HAVE ALSO BECOME MORE POPULAR INCLUDING THE SIMPSONS AND
AMERICAN DAD.
COMPUTER GAMES
THE VENERABLE ART OF ANIMATING STILL IMAGES HAS EXISTED IN SOME FORM OR ANOTHER SINCE THE 1800S.
TODAY, HOWEVER, NEW EVOLUTIONARY OFFSHOOTS OF THE ARTFORM MAKE THE INDUSTRY MORE DIVERSE THAN
EVER. VIDEO GAMES IN PARTICULAR, OFFER A VARIETY OF OPPORTUNITIES AND RESTRICTIONS NOT FOUND IN
PREVIOUS FORMS OF ANIMATION.
REGARDLESS OF THE PLATFORM, VIDEO GAMES OFFER A CORNUCOPIA OF RICH ANIMATION, BE IT IN THE FULL MOTION
VIDEO CUT-SCENES OR THE ABUNDANT IN-GAME ENGINE ANIMATIONS. FMV CAN BE EITHER HAND DRAWN OR CG, AND
IS GENERATED IN MUCH THE SAME WAY ONE WOULD PRODUCE CONTENT FOR FILM OR VIDEO. WITH LIMITED OR NON-
EXISTENT USER INPUT, FMV SEQUENCES ARE MOSTLY EMPLOYED FOR NARRATIVE PURPOSES. THE IN-GAME ENGINE
ANIMATIONS ARE THE REAL SOURCE OF THE MEDIUMS' POTENTIAL. IT IS HERE THAT A TALENTED ARTIST IS ABLE TO
TELL A STORY USING BODY LANGUAGE AND LIMITED GRAPHICS. "HOW A CHARACTER WALKS (E.G. SLOUCHING SADLY
OR BOUNCING HAPPILY) IS TELLING THE CHARACTER'S STORY," POINTS OUT SAM YIP.
SAM YIP IS A SENIOR ANIMATOR AT DISNEY INTERACTIVE. HIS PORTFOLIO INCLUDES SUCH GAMES AS "PIRATES OF THE
CARIBBEAN ONLINE," "SAINTS ROW," AND "GOLDEN EYE: ROGUE AGENT." A FAN OF BOTH TRADITIONAL ANIMATION AND
RECENT INTERACTIVE MEDIUMS, HE BELIEVES THE MAJOR DISTINCTION BETWEEN GAMES AND FILM LIES WITHIN THE
MEDIUMS' OBJECTIVES. "THE GOAL OF [FILM] ANIMATION IS TO SERVE A STORY/NARRATIVE, AND IN VIDEO GAMES, THE
ANIMATION'S GOAL IS TO SERVE THE GAME PLAY, SO THE GAME PLAYER CAN CREATE HIS OWN STORY."
MOBILE PHONES
MOBILE PHONE TECHNOLOGY HAS DEVELOPED RAPIDLY OVER THE LAST COUPLE OF YEARS.
NOT ONLY THAT THEY HAVE DEVELOPED IN THE WAY WE USE THEM AS INSTEAD OF JUST
USING MOBILE PHONES FOR THE SIMPLE TASK OF CALLING AND TEXTING ONE ANOTHER BUT
WE ALSO KNOW USE ARE PHONES TO DO MORE THINGS FOR ENTERTAINMENT PURPOSES
SUCH AS WATCH TV, SURF THE INTERNET AND ALSO PLAY GAMES IN APPS.
NOT ONLY IS ANIMATION USED FOR THE PURPOSE OF APPS FOR ARE ENTERTAINMENT BUT IT
IS ALSO USED FOR THE INTERFACE OF ARE SMART PHONES

BEST FIENDS- 2014 APP AVAILABLE ON ISO & ANDROID

INTERNET
THROUGH THE INTERNET THERE ARE VAST FORMS FOR ANIMATORS THIS
GIVES THEM THE OPPORTUNITY TO SHOW THEIR WORK, THESE PIECES
INCLUDE OF ART AS WELL AS ADVERTS AND ANIMATIONS THAT ARE EMBEDDED
IN THE WEBSITES THAT WE USE EVERYDAY. THIS ALLOWS A HUGE AUDIENCE
WORLDWIDE AND ALSO ALLOWS ANIMATORS TO COMMUNICATE WITH ONE
ANOTHER AND SHARE THERE IDEAS. MOST ANIMATIONS ARE AVAILABLE TO
VIEW FOR FREE HOWEVER THE INTERNET HAS ALLOWED SOME
PROFESSIONAL ANIMATORS TO BECOME WELL KNOWN AND SUCCESSFUL AN
EXAMPLE OF THIS IS MONKEEHUB. THE INTERNET HAS ALSO PROVIDED A
PLACE FOR AMATEUR ANIMATORS TO CREATE THERE OWN ANIMATIONS THIS IS
PURELY FOR THE LOVE OF DOING IT.
MONKEEHUN: HTTP://WWW.MONKEEHUB.COM/
CONCLUSIONS

HERE I HAVE LOOKED AT ALL OF THE WAYS ANIMATION IS USED ON DIFFERENT DEVISES AND
MEDIA PLATFORMS. ALSO HOW ANIMATION IS USED TODAY NOT ONLY FOR ENTERTAINMENT BUT
ALSO HOW IT IS USED FOR ADVERTISEMENT. AND HOW THEY ARE EFFECTIVE.