![]() ![]() In France, Émile Cohl was developing a form of animation similar to Blackton’s, though Cohl used relatively crude stick figures rather than Blackton’s ambitious newspaper-style cartoons. Later that year, Blackton also experimented with the stop-motion technique-in which objects are photographed, then repositioned and photographed again-for his short film Haunted Hotel. Stuart Blackton, whose Humorous Phases of Funny Faces in 1906 launched a successful series of animated films for New York’s pioneering Vitagraph Company. Although “firsts” of any kind are never easy to establish, the first film-based animator appears to be J. With the invention of sprocket-driven film stock, animation was poised for a great leap forward. Stuart Blackton's animated movie “Humorous Phases of Funny Faces” See all videos for this article ![]() Reynaud became not only animation’s first entrepreneur but, with his gorgeously hand-painted ribbons of celluloid conveyed by a system of mirrors to a theatre screen, the first artist to give personality and warmth to his animated characters. The Frenchman Émile Reynaud in 1876 adapted the principle into a form that could be projected before a theatrical audience. In 1834 William George Horner invented the zoetrope, a rotating drum lined by a band of pictures that could be changed. One of the first commercially successful devices, invented by the Belgian Joseph Plateau in 1832, was the phenakistoscope, a spinning cardboard disk that created the illusion of movement when viewed in a mirror. If drawings of the stages of an action were shown in fast succession, the human eye would perceive them as a continuous movement. Early experimenters, working to create conversation pieces for Victorian parlours or new sensations for the touring magic-lantern shows, which were a popular form of entertainment, discovered the principle of persistence of vision. The theory of the animated cartoon preceded the invention of the cinema by half a century.
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