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[atanimation]

How Japanese Anime Became the World’s Most Bankable Genre by Patrick Brzeski

The article is all about the significant worldwide growth of Japanese anime and its future in upcoming years. This article is written by Patrick Brzeski who is The Hollywood Reporter's Asia Bureau Chief. This articles talks about the growth of anime in past decades and especially in last few years, even during The coronavirus pandemic where the percentage of its viewers has remarkably elevated. It also talks about how streaming services have played a major role in increasing the demand for Japanese anime globally. With the accurate data, it shows the increasing popularity of anime and its percentage comparison with other entertainment media around the world.

According to consultancy Parrot Analytics, global demand for anime content grew 118 percent over the past two years, making it one of the fastest-growing content genres throughout the pandemic (the firm measures its demand metric by combining consumption data with social media activity, social video and independent research).

I always have a major interest in Japanese anime and manga since my childhood. There art style is unique and profound in some ways than similar industries in the world. Being aware of its insatiable demand these days I decided to write the blog this article which is a perfect fit for this.

“Over the past five to 10 years, in Japan and in the West, there’s almost been this anime renaissance that has happened, where it went from being this thing you would get bullied for liking to being something all kinds of people want to talk about,” says 27-year-old anime influencer Joseph Tetsuro Bizinger, who goes by Joey the Anime Man on YouTube, where his channel has grown over the past decade to 3.2 million followers. “It’s going through this motion that gaming went through in the 1990s, where if you played games you were a nerd, until suddenly everyone played games. That’s why anime films are just becoming such a massive thing. It’s not just a few nerds from your class who go see [the latest anime release] — now the entire class is going to go.”

I believe that for animation aspirants, this article is an amazing source to know about the contemporary state of Japanese anime in the world because it shares the reliable information as it is written by Patrick Brzeski who is The Hollywood Reporter's Asia Bureau Chief.

In conclusion, manga and anime's impact extends far beyond entertainment—they have become a cultural force that continues to shape and inspire people worldwide. The influence of these art forms is evident in various aspects of our lives, from the way we consume media to the way we express ourselves artistically. The global popularity of manga and anime is a testament to their universal appeal and enduring significance.

REFRENCES

[atanimation]

Happiness Factory (2006)

The "Happiness Factory" commercial is a well-known Coca-Cola advertisement that was released in 2006. It's an animated commercial that takes viewers on a journey inside a vending machine, exploring a fantastical world where animated characters work together to create a bottle of Coca-Cola. This commercial was created by the advertising agency Wieden+Kennedy Amsterdam. This agency is known for its creative and innovative work, and they were responsible for developing and producing the animated commercial. The commercial was part of Coca-Cola's global marketing campaign, and its success contributed to the widespread recognition of the "Open Happiness" tagline associated with the brand. The animation studio Psyop was also involved in the production of the commercial. "Happiness Factory" was well-received for its creativity and storytelling. It became a memorable and iconic advertisement for Coca-Cola, showcasing the brand's commitment to associating its product with positive emotions and experiences. the "Happiness Factory" commercial is an example of how animation can be used in advertising to create a magical and memorable narrative that resonates with viewers.

Technique

The "Happiness Factory" commercial by Coca-Cola was created using a combination of animation techniques, including CGI and traditional animation. The process likely began with the development of the concept and a detailed storyboard outlining the sequence of scenes and actions in the commercial. This step is crucial for planning the visual narrative. Animated characters, representing various creatures and workers in the Happiness Factory, were designed. In the case of CGI animation, these characters were likely modeled in 3D to give them depth and realistic movement. The animated world inside the vending machine, the Happiness Factory, required detailed set design. This would involve creating the virtual environment where the characters would interact. The animation process involved bringing the characters and scenes to life. Traditional animation techniques may have been used for certain elements, while computer-generated animation would have been employed for the more complex and dynamic sequences. Post-production involves combining the rendered animation with any additional visual effects, refining the color grading, and adding any necessary final touches. The commercial likely features a specially composed soundtrack or music that enhances the emotional impact of the visuals. Sound effects were also added to complement the animated actions. The final edit brought together all the elements, ensuring that the commercial flowed seamlessly and conveyed the intended message. The commercial was likely captured through digital rendering and compositing techniques rather than traditional film cameras. CGI animation allows for a high level of control and manipulation during the production process. Keep in mind that the specific details of the production process are proprietary to the creators and might not be publicly disclosed.

Representation

The "Happiness Factory" commercial by Coca-Cola is a whimsical and imaginative depiction of a world that exists inside a Coca-Cola vending machine. The central theme of the commercial revolves around the idea that happiness is created and bottled in a fantastical factory within the confines of the vending machine. The commercial begins with a person purchasing a bottle of Coca-Cola from a vending machine. Once the bottle is selected, the viewer is transported into a magical world inside the machine, known as the "Happiness Factory." Inside the Happiness Factory, various animated characters come to life. These characters represent a range of whimsical and fantastical creatures, each with its own role in the creation process. The animated characters work together in a lively and collaborative manner to create the bottle of Coca-Cola.

The commercial visually depicts the joyous and magical process of crafting the beverage, emphasizing the idea that Coca-Cola is not just a drink but a product of happiness. The setting inside the vending machine is highly imaginative, with vibrant colors, creative character designs, and a sense of wonder. The commercial aims to convey that opening a bottle of Coca-Cola is like unlocking a magical world of happiness. The commercial concludes with the tagline "Open Happiness," suggesting that the act of opening a bottle of Coca-Cola is akin to releasing happiness into the world. n summary, the commercial uses animation and a fantastical narrative to convey the idea that Coca-Cola is not just a beverage but a source of joy and happiness. It creates a charming and memorable depiction of the process by which happiness is infused into each bottle of Coca-Cola in the whimsical world inside the vending machine.

Reception

The "Happiness Factory" commercial was shown through various advertising channels, including television, online platforms, and during cinema screenings. The commercial was likely broadcast on television during strategic time slots to reach a wide audience. Television advertising remains a key medium for major brands to showcase their campaigns. Given the era of its release in 2006, the commercial may have been shared on Coca-Cola's official website and on various online platforms, contributing to its reach beyond traditional broadcast channels. Animated commercials, especially those with high production values like "Happiness Factory," are sometimes shown in cinemas as part of pre-show advertisements. The "Happiness Factory" commercial received a positive response at the time of its release. Viewers and industry professionals praised its creativity, whimsical animation, and the way it conveyed the joy associated with consuming Coca-Cola. The commercial became widely popular and contributed to the success of Coca-Cola's "Open Happiness" marketing campaign.

the "Happiness Factory" commercial continues to be well-regarded, and it has become somewhat iconic in the realm of advertising. The commercial's imaginative storytelling and memorable characters have contributed to its enduring appeal. Additionally, with the rise of online platforms and the ability to share and revisit advertisements, it's possible that the commercial continues to be appreciated by audiences who may come across it in various digital spaces. Public perception of advertisements can evolve over time, but well-executed and creative campaigns often leave a lasting positive impression.

References

[atanimation]

The Lord of the Rings (1978)

"The Lord of the Rings" (1978) is an animated fantasy film directed by Ralph Bakshi, released on November 15, 1978. The film covers the first half of J.R.R. Tolkien's epic trilogy, "The Fellowship of the Ring" and part of "The Two Towers." Notable for its unique animation style, which combines traditional hand-drawn animation with the rotoscoping technique, the movie follows Frodo Baggins and his diverse group of companions on a perilous quest to destroy the One Ring. While the film received mixed reviews for its incomplete adaptation and unconventional visuals, it has gained a cult following over the years, appreciated for its experimental approach and as a distinctive representation of Tolkien's work during the 1970s. The film features an ensemble cast, including Christopher Guard as Frodo Baggins, William Squire as Gandalf, and John Hurt as Aragorn. The voice acting, combined with the rotoscoping technique, contributes to the film's distinctive atmosphere.

Technique

The film is notable for its unique animation style, utilizing a combination of traditional hand-drawn animation and a process called rotoscoping. Rotoscoping involves tracing over live-action footage, providing a distinctive and sometimes surreal visual effect. Much of the film's animation was created using traditional hand-drawn animation techniques. Artists created the characters and scenes frame by frame through drawing and painting. A significant and distinctive aspect of the film's animation was the use of rotoscoping. This technique involves tracing over live-action footage frame by frame. The live-action sequences were filmed, and then animators traced over the frames to create the animated characters. This process gave the film its unique visual style. The rotoscoping process began with live-action footage of actors performing the scenes. This footage was then projected frame by frame onto an animation table, and animators traced over each frame to create the animated characters. This process allowed for a more realistic and detailed movement of characters. The film features an ensemble cast, including Christopher Guard as Frodo Baggins, William Squire as Gandalf, and John Hurt as Aragorn. The voice acting, combined with the rotoscoping technique, contributes to the film's distinctive atmosphere.

The credits of a film typically include information about key personnel involved in the production. In the case of "The Lord of the Rings" (1978), you might find credits for the director (Ralph Bakshi), animators, artists, voice actors, and other key roles. Look for mentions of animation directors, animators, and technical directors. These roles can provide insights into the specific animation techniques used. The credits may also mention any special processes or technologies employed in the production. In this case, the use of rotoscoping might be acknowledged. While the credits may not provide an exhaustive technical breakdown, they can offer valuable information about the individuals and roles involved in the production. For more detailed insights into the production methods, you might need to refer to interviews, documentaries, or behind-the-scenes features related to the making of the film, if available.

Representation

"The Lord of the Rings" (1978) depicts the first part of J.R.R. Tolkien's epic fantasy trilogy of the same name. The film primarily focuses on "The Fellowship of the Ring" and covers the journey of Frodo Baggins, a young hobbit, who is entrusted with the task of destroying the One Ring. The One Ring, created by the dark lord Sauron, holds immense power and threatens to bring about the destruction of Middle-earth. Frodo is joined by a diverse group of characters, including Aragorn, Legolas, Gimli, Boromir, and Gandalf, forming the Fellowship of the Ring. Together, they embark on a perilous journey across various lands, facing challenges and encounters with creatures both benevolent and malevolent. Their ultimate goal is to reach the volcanic Mount Doom, where the One Ring must be destroyed to prevent Sauron from conquering Middle-earth. The film introduces viewers to the rich and intricate world of Middle-earth, complete with different races, cultures, and landscapes. It explores themes of friendship, courage, and the struggle against dark forces. While the 1978 animated adaptation covers only part of the trilogy, it captures the essence of the epic quest and sets the stage for the larger conflict portrayed in J.R.R. Tolkien's masterpiece.

The Struggle Against Evil: At its core, the story is about the struggle against the forces of darkness and evil, represented by Sauron and the One Ring. It emphasizes the importance of resisting and overcoming evil even in the face of overwhelming odds. The Power of Friendship and Fellowship: The formation of the Fellowship of the Ring symbolizes the strength that comes from diverse individuals working together toward a common goal. The bonds of friendship and fellowship are central to the characters' ability to confront and withstand the challenges they encounter.

The Hero's Journey: Frodo's journey is a classic hero's journey, where he undergoes personal growth and transformation. The film portrays the challenges, sacrifices, and self-discovery that come with being a hero.

The Corrupting Influence of Power: The One Ring is a symbol of corrupting power. It tempts individuals with the promise of great power but ultimately corrupts and consumes those who possess it. This theme explores the dangers of unchecked ambition and the corrupting influence of power.

Environmental Stewardship: The story highlights the importance of protecting the natural world. The destruction caused by Sauron and the impact of the One Ring on the land underscore the theme of environmental stewardship and the consequences of neglecting the balance of nature.

Resilience in the Face of Adversity: The characters face numerous challenges and setbacks, but their resilience and determination to carry on despite adversity convey a message of hope and perseverance.

Reception

"The Lord of the Rings" (1978) was shown in theaters as a feature-length animated film. The film was presented on the big screen using traditional film projection methods. The film received mixed reviews upon its release in 1978. While some praised its ambition in adapting J.R.R. Tolkien's complex work, others criticized it for various reasons. Common criticisms included the film covering only part of the trilogy, leaving the story incomplete, and the abrupt ending. Some viewers found the rotoscoping technique to be unconventional and polarizing. Over the years, "The Lord of the Rings" (1978) has gained a cult following. Some appreciate it for its unique animation style and the ambitious attempt to bring Tolkien's work to the screen in the 1970s. It has nostalgic value for those who encountered it during their childhood. However, the film is generally not considered a definitive or comprehensive adaptation of Tolkien's masterpiece.

References

[atanimation]

Yellow Submarine (1968)

"Yellow Submarine" is a groundbreaking animated musical fantasy film released in 1968. Produced by United Artists and King Features Syndicate, the movie was inspired by the music of The Beatles. This film is renowned for its unique and innovative animation, reflecting the spirit of the '60s with its psychedelic art style and whimsical storytelling. The movie is also celebrated for its imaginative use of The Beatles' music throughout the narrative, featuring numerous songs from the band's iconic repertoire. Some of the classic Beatles songs included in the film are "All You Need Is Love," "Lucy in the Sky with Diamonds," "Eleanor Rigby," "When I'm Sixty-Four," and, of course, "Yellow Submarine." The movie was a significant cultural phenomenon of its time, not only for its music but also for its groundbreaking animation and its contribution to the counterculture movement of the 1960s. "Yellow Submarine" remains a beloved and influential piece of animation, recognized for its artistic innovation and its lasting impact on both music and popular culture.

Technique

The making of "Yellow Submarine" involved various animation techniques and materials that were innovative for its time. The animation production was a mix of traditional hand-drawn animation and innovative experimental methods, incorporating diverse materials and capturing methods to achieve its distinct look. Rotoscoping involves animating over live-action footage. Animators traced over filmed footage of human actors, allowing for more realistic movement. This technique was employed in some sequences, providing fluid and lifelike movements for characters. The film utilized photo collage elements, incorporating real photographs, cut-outs, and other mixed-media elements to create unique and surreal visuals. Alongside experimental techniques, traditional hand-drawn animation was used for many sequences, blending with the unconventional styles to create the film's overall look. Traditional ink and paint methods were used to color the animated frames. Various optical effects, including psychedelic and trippy visuals, were achieved using innovative optical techniques, enhancing the film's surreal atmosphere. The actual capture process involved filming and photographing the animated frames to create the sequences for the movie. The mixed-media elements, hand-drawn animation, and other materials were captured using traditional film cameras and techniques of the time. After the animation was created, it was photographed or filmed frame by frame to generate the final footage. The various animation sequences were captured and compiled to create the animated feature. Different layers of animation, whether hand-drawn or using photo collage, were combined to form the visual sequences seen in the film. This final footage was edited together to synchronize with the music and narrative.

Representation

"Yellow Submarine" is an animated musical fantasy film inspired by the music of The Beatles. The storyline revolves around the fantastical world of Pepperland, a place of music, love, and happiness. However, this idyllic world is threatened by the Blue Meanies, a group that despises music and happiness. The Blue Meanies attack Pepperland, turning its inhabitants into statues and silencing the music. In desperation, Old Fred, a sailor, escapes in the Yellow Submarine to find help. He travels to Liverpool and recruits the Beatles—John, Paul, George, and Ringo—to journey with him to Pepperland and save it from the oppressive rule of the Blue Meanies.The film portrays the Beatles as animated characters, each representing their real-life counterparts: John Lennon, Paul McCartney, George Harrison, and Ringo Starr. Their animated personas embark on an adventurous, psychedelic journey aboard the Yellow Submarine to Pepperland. Throughout the journey, they encounter various surreal and imaginative landscapes, facing obstacles and challenges posed by the Blue Meanies. The Beatles' animated characters are depicted as whimsical and playful versions of themselves, using their personalities and mannerisms as part of the story. The film celebrates the band's music and their spirit, utilizing their songs and spreading the message of love, peace, and the power of music as a force to combat negativity and oppression. "Yellow Submarine" is not just a literal journey to save Pepperland but also a metaphorical exploration of the power of music and joy, offering a message of hope and love amidst chaos and discord. The film is an artistic and imaginative representation of The Beatles and their music, embedded within a vibrant, fantastical narrative.

Reception

This film was shown in theaters initially, presented as a feature-length animated film. Upon its release in 1968, it was shown in cinemas using traditional film projectors to exhibit the animation on the big screen. At the time of its release, "Yellow Submarine" received mixed critical reviews but was generally embraced by audiences. The film's psychedelic and abstract animation style, coupled with its association with The Beatles and their music, resonated with the counterculture movement of the 1960s. It was appreciated for its artistic innovation, colorful visuals, and its connection to the spirit of the time. The film's reception varied among critics. Some praised its revolutionary animation style and the incorporation of Beatles music, seeing it as a piece of innovative and imaginative art that captured the essence of the '60s. However, others were less enthusiastic, finding the plot relatively thin and disjointed compared to the groundbreaking animation. Over time, "Yellow Submarine" has gained a cult following and is now considered a classic and iconic animated film. Its unique animation style and connection to The Beatles' music have earned it a lasting place in pop culture. As a result, it's often appreciated for its artistic significance and its representation of the '60s counterculture movement.

Today, it's regarded as an influential and innovative work in animation, appreciated for its bold and unconventional art style, its connection to The Beatles' music, and its place in the cultural history of the late 1960s. The film's legacy continues to be celebrated, not just among fans of The Beatles but also among animation enthusiasts and those interested in the historical and cultural impact of the '60s counterculture.

References

[atanimation]

The Snow Maiden (1952)

"The Snow Maiden" (Снежная Королева) is a beloved Russian animated film released in 1952, directed by Ivan Ivanov-Vano and produced by Soyuzmultfilm studio. However, it's worth noting that there might be some confusion with the title, as "The Snow Maiden" is based on a Russian fairy tale, but the 1952 animation might be more accurately titled "The Snow Queen". This animated adaptation is based on the famous fairy tale by Hans Christian Andersen, "The Snow Queen." The story revolves around a young girl named Gerda who embarks on a perilous journey to rescue her friend Kai, who has been abducted by the Snow Queen. The Snow Queen is an enchanting yet cold-hearted ruler who kidnaps Kai and takes him to her ice palace. Ivan Ivanov-Vano directed various animated films throughout his career, and his work on "The Snow Maiden" contributed to the adaptation of this beloved Russian fairy tale into an animated form, adding to the rich cultural heritage of Russian animation.

Technique

The film's visual artistry and storytelling were achieved through the use of traditional animation methods, resulting in a visually enchanting and expressive piece of animation. This film was created using traditional animation techniques common during that era. The production involved a combination of artistic and technical processes. The film has been praised for its artistry and emotional depth, capturing the essence of the original fairy tale while incorporating its own unique visual style and narrative interpretation. The animation's impact has resonated both within Russia and across the world, as it's been translated into various languages for international audiences to enjoy. It's a timeless piece of animation that holds a significant place in the history of Russian and international animated films, cherished for its artistic achievement and its ability to captivate audiences of all ages.

Representation

This film primarily revolves around the character of Snegurochka. It portrays her yearning for human emotions, particularly love and warmth. Snegurochka's interactions and experiences form the core of the story. Other characters in the tale, if present, usually revolve around her life and the circumstances surrounding her longing for love. The central character is Snegurochka, a girl made of snow brought to life magically. She is curious, kind-hearted, and fascinated by the world but lacks the ability to feel warmth and love due to her icy origins. Snegurochka longs to experience human emotions, especially the warmth of love, which she's unable to feel. Her desire to experience these emotions drives her story. In some versions, Snegurochka falls in love with a young man. However, her inability to handle the warmth of emotions leads to tragic consequences, as her icy nature cannot sustain feelings of love. The story is a poignant and bittersweet tale of longing and the limitations that prevent Snegurochka from fully experiencing the warmth of human emotions due to her wintry origins. "The Snow Maiden" in its various adaptations, including this 1952 animated film, emphasizes themes of longing, the transient nature of beauty, and the desire to experience emotions that are unattainable due to inherent limitations.

Reception

The film was shown in cinemas and various film events in the Soviet Union during its release. It was intended for public viewing in theaters, especially for audiences within the Soviet Union. The film received positive attention and acclaim within the Soviet Union. As part of the Soviet animation tradition, "The Snow Maiden" was appreciated for its artistry, storytelling, and cultural significance. Soviet animated films often held a particular place in the hearts of audiences, offering imaginative narratives and strong cultural ties. "The Snow Maiden" remains a classic within the realm of Russian animation. While it might not have garnered widespread international recognition compared to some other animated films, it still holds cultural significance in Russia and among animation enthusiasts worldwide.

With the advent of the internet and increased accessibility to international content, there's been a growing appreciation for classic animations from different cultures. As a result, there might be a renewed interest in films like "The Snow Maiden," with audiences recognizing its artistic value, cultural significance, and contribution to the history of animation. Given its classic status and its connection to a beloved Russian fairy tale, "The Snow Maiden" holds a place of nostalgia and admiration among those who appreciate traditional hand-drawn animation and folklore-inspired storytelling.

References

[atanimation]

Working with Disney

Eric Larson (1905-1988)

Born in Cleveland, Utah on 3 September 1905, Eric developed a keen interest in comic humor publications like Punch and Judge during his upbringing on the plains. Following his high school years, he pursued a journalism major at the University of Utah. During his time there, he garnered recognition as a witty and inventive humorist in both literary and graphic realms by editing the campus magazine and showcasing his cartoons in the local Deseret News. Following the completion of his education, Eric journeyed throughout the United States for a year, working independently for multiple magazines. Subsequently, in 1933, he arrived in Los Angeles. During that very year, influenced by a friend who recognized his remarkable drawing abilities, Eric opted to send a selection of his sketches to the Walt Disney Studio. His career took a turn when he got hired there as an assistant animator, leading to a significant shift in his professional ambitions away from journalism. He worked in for the studio for over four decades. He was handpicked by Walt Disney himself and was one of the core animators referred to as one of the "Nine Old Men."

His role at Disney was primarily as an animator and later as a directing animator, contributing to many iconic Disney films. He played a significant part in creating memorable characters and scenes, showcasing his talent in character animation and storytelling. His work ethic, attention to detail, and commitment to quality were highly regarded by his colleagues and peers. Larson was known for his work on various Disney classics, including "Snow White and the Seven Dwarfs," "Bambi," "Cinderella," "Peter Pan," "Lady and the Tramp," "Sleeping Beauty," and more. His contributions extended to different characters, showcasing his versatility and skill in bringing these animated personalities to life.

Information about Eric Larson can be found in various mediums, including online sources, books, journal articles, and more. Online sources often provide biographical details about Eric Larson, including his early life, career at Disney, notable contributions to specific Disney films, and his role among the Nine Old Men. Sites like AnimationResources.org provides a wealth of information on various animators and their contributions to the animation industry. Additionally, Walt Disney Archives The official Disney archives have sections or articles dedicated to Eric Larson and the Nine Old Men and The Animation Guild Blog have articles or posts discussing the works of legendary animators, including Eric Larson. Moreover, a book named as "Walt Disney's Nine Old Men and the Art of Animation" by John Canemaker, specifically delves into the lives and contributions of the Nine Old Men, shedding light on Eric Larson's career. "The Art of Walt Disney" by Christopher Finch, This comprehensive book covers the history of Walt Disney and his studio, providing information about the key figures, including Eric Larson.

During the late 1970s, Eric broadened the Studio's Talent Program to scout and educate budding animators from various colleges and art schools nationwide. This initiative, ongoing today, proved pivotal in Disney's history, coinciding with the departure of numerous experienced animators. Eric's close collaboration with emerging animators played a significant role in safeguarding the essence of Disney animation for future generations. Being the oldest among all 9 iconic men, only Eric seriously took the responsibility to impart all his precious learnings to young artists for the upcoming generations, I find it so inspiring that I chose to write about him.

After 52 years at Disney, Eric retired in 1986. In an interview at that time, he said, “The important thing is not how long I’ve been here, but how much I’ve enjoyed it and what I’ve accomplished in all that time. When I think about my contribution to the animation that people enjoy so much, it makes me feel good.”

He passed away in La Cañada Flintridge, California, on October 25, 1988. From his Life, I learned the significance of Learning and how much it is important to pass on the knowledge to the next generation as accurately as possible. Because of Eric, today, world is familiar with the techniques of Disney studio which is helping million of aspiring artists to learn and follow their passion to accomplish their artistic goals. "What a Wonderful and inspiring Life he lived"

Ub Iwerks (1901-1971)

Ub Iwerks, whose full name was Ubbe Ert Iwwerks, was born on March 24, 1901, in Kansas City, Missouri. He developed a passion for drawing and animation from a young age. Ub Iwerks was a pioneering animator and inventor known for his significant contributions to the early days of animation, particularly his work with Walt Disney. Iwerks was also a technical wizard and made significant innovations in animation. He developed the first multiplane camera, a device that added depth and dimension to animated films, greatly enhancing the quality and visual appeal of Disney's early works. He met Walt Disney while working at the Pesman-Rubin Commercial Art Studio in Kansas City. The two formed a strong creative partnership and started their own animation studio together called "Iwerks-Disney Commercial Artists" in 1920. In 1927, Ub Iwerks and Walt Disney created Oswald the Lucky Rabbit, a popular cartoon character. However, due to a contractual dispute with their distributor, Universal, they lost the rights to Oswald, which led to a pivotal moment in their careers.

Following the loss of Oswald, Ub Iwerks and Walt Disney quickly developed a new character, Mickey Mouse, in 1928. Ub was responsible for the initial design and animation of Mickey, who became an iconic and enduring figure in animation history. werks continued to work on other Disney classics, including "Silly Symphonies" and "The Skeleton Dance." His technical and artistic contributions played a crucial role in the success of Disney's early animations. n 1930, Ub Iwerks founded his own animation studio, the Iwerks Studio, which produced a series of successful "ComiColor" cartoons and introduced characters like Flip the Frog. In 1940, Ub Iwerks returned to Disney to work on special effects for live-action/animation hybrid films like "Mary Poppins." In 1940, Ub Iwerks returned to Disney to work on special effects for live-action/animation hybrid films like "Mary Poppins."

Information about Ub Iwerks, the influential animator and inventor, can be found in various sources. Websites like Wikipedia, Disney Fandom, and dedicated animation history sites often have comprehensive articles about Ub Iwerks, detailing his life, contributions, and impact on the animation industry. The official Disney Archives and the Walt Disney Company's websites might contain information about Ub Iwerks, particularly regarding his collaboration with Walt Disney and his significant contributions to the studio. Many online biographical sources and encyclopedias specializing in animation or the history of film might feature articles or entries on Ub Iwerks. The Wikipedia page dedicated to Ub Iwerks offers an overview of his life, career, and contributions to animation. Moreover, Disney Fandom: A site that delves into Disney's history, offering details about Iwerks' collaboration with Walt Disney and his impact on the company. "Ub Iwerks: The Forgotten Man of Disney" by Adam Rackoff . This book provides insights into Iwerks' life, his creative innovations, and his influence on Disney's success. "The Hand Behind the Mouse: An Intimate Biography of Ub Iwerks" by John Kenworthy, This biography delves into Iwerks' life, his work with Disney, and his contributions to the animation industry.

Iwerks played a role in the design and development of Disneyland, contributing to attractions like "The Enchanted Tiki Room." Iwerks was involved in the creation of this innovative attraction, which featured a combination of audio-animatronics and special effects to bring a Polynesian-themed show to life. It marked a significant leap in the use of animatronics in a theater setting. He was part of the team responsible for creating special effects and illusions in the Haunted Mansion. His expertise in animation and special effects contributed to the eerie and immersive experience of the attraction. He played a role in developing the special effects and animatronics that made this ride a groundbreaking and immersive experience. His contributions helped bring the pirate-filled adventure to life. Iwerks was instrumental in the evolution of animatronics technology, which became a hallmark of Disney park attractions. His innovations in this field significantly enhanced the realism and storytelling within the attractions. He contributed to various technological advancements, which paved the way for interactive and immersive experiences in theme parks. His work helped set the standard for entertainment technologies within the industry. Even beyond his direct involvement in specific attractions, Iwerks' technological innovations and advancements in animatronics laid the foundation for numerous subsequent attractions and developments in Disney theme parks worldwide.

Ub Iwerks' contributions to animation, especially his collaboration with Walt Disney and the creation of Mickey Mouse, continue to be celebrated and revered in the animation industry. His technical innovations, including the multiplane camera, revolutionized the art of animation and set the stage for the future of the medium. Ub Iwerks' impact on the animation industry and popular culture is enduring and profound. He passed away on July 7, 1971, leaving behind a lasting legacy in the world of animation.

References

[atanimation]

The Milky Way (1940)

"The Milky Way" is a beautiful little animated short from back in 1940. It was produced by Metro-Goldwyn-Mayer (MGM). MGM's animation department created a series called "Happy Harmonies," and "The Milky Way" is one of the cartoons from that series. The film was produced by Rudolf Ising and Hugh Harman - two animators who bounced around from studio to studio throughout the Golden Age of Animation. It has received an Academy Award nomination for Best Animated Short Subject in 1940, which is a testament to its artistic and technical achievements.

Technique

One of the most distinctive features of the production technique was the use of a multiplane camera. This camera allowed different layers of animation cels to be filmed at varying distances from the camera, creating a sense of depth and dimension in the animation. This technique made the animation appear more three-dimensional and added depth to the scenes, giving it a unique and visually appealing quality. This was a groundbreaking technique at the time and contributed to the film's acclaim. The use of depth and dimension in the animation was achieved through the skillful manipulation of multiplane cameras, which allowed for more complex and visually impressive scenes. The film was notable for its imaginative use of animation to bring celestial imagery to life. Fireflies in the night sky form constellations that tell stories, showcasing a creative approach to storytelling and animation. The film emphasized artistic craftsmanship, using hand-drawn animation and meticulous painting techniques to create visually stunning scenes. The attention to detail and artistic creativity made "The Milky Way" stand out as a visually captivating work of art. The final result was a fully animated short film that combined hand-drawn characters and backgrounds with innovative multiplane camera techniques to create the illusion of depth and dimension. This was a labor-intensive and artistic process that was the standard for animated films of that era.

Representation

Three tiny kittens, who were deprived of milk as a consequence of misplacing their mittens, embark on an adventure to the Milky Way in a hot air balloon. During their cosmic journey, they encounter various celestial wonders, such as a lunar surface resembling cheese, a high-speed comet train, a Mars that shoots stars, and the prominent constellations of the Big and Little Dipper. The narrative is rich in fantastical elements as the kittens journey to the Milky Way in a hot air balloon and encounter a series of playful and comical events in outer space. The story highlights themes of curiosity, escapism, and the world of dreams and imagination, where the boundaries of reality are blurred. It showcases the joy of exploration, the unexpected twists that can occur in a dreamlike setting, and the humorous consequences of their actions. Overall, the story is a creative and lighthearted tale that appeals to the imagination and sense of wonder.

Reception

"The Milky Way" was shown in theaters as a theatrical animated short, typically as part of a larger program that included feature films. During the era in which it was released (the Golden Age of Animation), animated shorts were a common feature before the main movie, and they were highly anticipated and well-received by audiences. At the time of its original release, "The Milky Way" was likely received positively by audiences. It was a part of MGM's animated short film series, and these shorts often featured imaginative storytelling, humor, and memorable characters. "The Milky Way," in particular, was a playful adaptation of the nursery rhyme "The Three Little Kittens," which was familiar to many, making it relatable and enjoyable for viewers.

Today, "The Milky Way" is recognized as a classic animated short from the Golden Age of Animation. While it may not have the same level of fame as some other animated characters like Tom and Jerry (which were also produced by MGM), it is appreciated by animation enthusiasts, historians, and those with an interest in vintage animation. The response to such classic animated shorts like "The Milky Way" today is generally positive, as they hold historical and artistic significance in the world of animation. They are valued for their nostalgia and as examples of the creativity and artistry of the time.

References

[atanimation]

Flowers and Trees (1932)

"Flowers and Trees" is a 1932 Silly Symphony cartoon produced by Walt Disney and directed by Burt Gillett. It holds a special place in animation history as the first cartoon produced in color. It was not only Disney's first full-color cartoon but also the first animated short to win an Academy Award. It marked a significant milestone in the history of animation, as it showcased the potential of color in animated films and helped popularize the use of Technicolor in the industry.

Technique

This film was made using traditional hand-drawn animation techniques, which were the standard methods for producing animated films during that era. It typically begins with a storyboard, a series of drawings or panels that outline the key scenes and actions in the film. Storyboards serve as a visual script for the animators. Once the storyboard is approved, character and background designs are created. In "Flowers and Trees," this would have included designing the various flowers, trees, and characters in the cartoon. Animators then create the individual frames, or cels, for the film. Each frame is hand-drawn, and there are typically 24 frames per second of animation. In the case of "Flowers and Trees," this would have involved drawing the movements and actions of the characters and objects. After the animation was completed, artists would hand-paint the cels. This was a meticulous and time-consuming process. For "Flowers and Trees," this was done in color using the two-strip Technicolor process, which required different colors of paint for the two color channels. Hand-painted backgrounds were created to provide the settings for the characters and action. These backgrounds were painted with the appropriate colors and details to match the scenes. The individual cels were then photographed frame by frame onto film stock. This involved placing the painted cels over the painted backgrounds and capturing each frame through a process called composite photography. The film was edited to ensure the flow of the story, and a musical score and sound effects were added to enhance the viewing experience. This was also done with traditional film editing techniques. Long story short, In the case of "Flowers and Trees," the innovation was the use of the two-strip Technicolor process, which allowed the film to be captured in color. This process used a beam-splitter camera to simultaneously capture two different color channels, which were later combined to create the full-color effect. The use of Technicolor was one of the key factors that set "Flowers and Trees" apart from other animated shorts of the time and contributed to its success and historical significance.

Representation

The film depicts a romantic conflict between the flowers and the trees in a forest setting. The story begins in a picturesque forest where the flowers and the trees live. The flowers and trees are personified and exhibit human-like qualities. Everything is peaceful in the forest until the villainous Old Man Cedar arrives. Old Man Cedar, depicted as a gnarled and sinister tree, tries to win the affections of a lovely female tree by casting a shadow over the flowers. This causes a rift between the two groups of living beings in the forest. The conflict escalates as the trees and flowers engage in a battle. However, things take a dramatic turn when a lightning strike sets the forest on fire. The fire sweeps through the forest, endangering the lives of both the trees and the flowers. The surviving trees apologize to the flowers for their previous behavior, and the fire ultimately purges the forest, allowing new life to grow. The film's conclusion is one of rebirth and reconciliation, symbolizing harmony between the previously feuding flowers and trees. The flowers are depicted as cheerful, colorful characters who initially enjoy a peaceful existence in the forest. They are personified with human-like emotions and reactions. The trees, including the antagonist Old Man Cedar, are also given human-like qualities. Old Man Cedar is portrayed as a jealous and antagonistic character who disrupts the peace in the forest. Old Man Cedar is the central antagonist of the film. He is depicted as a menacing and twisted tree with a jealous desire for the female tree's attention.

The film primarily revolves around the conflict and eventual reconciliation between the flowers and the trees, with the forest itself serving as the backdrop for this allegorical story of harmony and renewal.

Reception 

This film was originally shown in theaters as a short film, often as part of a program that included a feature film and other short subjects. The response to this film was overwhelmingly positive, and it had a profound impact on the animation industry and audiences. This short film was not only a technical achievement but also a charming and entertaining story. Its use of color was a major breakthrough, and it showcased the potential of color in animation. It received critical acclaim and won the Academy Award for Best Animated Short Film in 1932. This achievement highlighted the importance of color in animation and solidified Disney's reputation as an animation innovator. The success of "Flowers and Trees" and its use of color helped pave the way for the transition of the animation industry from black and white to color. Disney continued to produce more Silly Symphony shorts and feature films in color, and this shift played a significant role in the evolution of animation as an art form. I watched this movie for the first time when I was seven years old on one of the few cartoon channels used to exist back then. After that, I recently get to watched it on YouTube and it was quite nostalgic a nostalgic experience for me.

This film still considered a landmark in the history of animation and an essential part of Disney's legacy. While it may not be as well-known to contemporary audiences as some of Disney's feature films, it is recognized for its historical significance and its role in advancing the use of color in animation. Animation enthusiasts, historians, and Disney fans continue to appreciate its contributions to the medium. It is also available for viewing through various Disney collections and archives, making it accessible to those interested in the history of animation.

References

[atanimation]

The Adventures of Prince Achmed (1926)

"The Adventures of Prince Achmed" is a groundbreaking animated film directed by a German animator Lotte Reiniger, released in 1926. It is one of the earliest surviving animated feature films and is celebrated for its innovative use of silhouette animation. One of the reasons I decided to write about this film is because Stop motion has always been a quite fascinating way of animation to me and all the characters are just silhouettes which is also very intriguing. Moreover, this is the first full-length animated film ever made, however, a lot of people think that it is "Snow White and the Seven Dwarfs" because it is not as widely recognized.

Technique

"The Adventures of Prince Achmed" was made using a pioneering animation technique known as silhouette animation, or shadow puppetry. Lotte Reiniger and her team created intricate cut-out figures and backgrounds from various materials. These materials included cardboard, thin sheets of lead, and other opaque materials for the characters and settings. The cut-out figures were carefully designed and cut by hand to depict characters, objects, and landscapes. These cut-outs were often highly detailed and intricate. To give the cut-out characters the appearance of movement, they were attached to thin wires or rods. Animators manipulated these wires frame by frame to create the illusion of motion. The animation process involved a specially designed animation table with a translucent, backlit background. The background was usually made of glass or another translucent material. A light source was positioned behind the translucent background to create a strong backlight. This created a stark contrast between the cut-out characters and the illuminated background, enhancing the silhouette effect. A camera was placed above the animation table to capture the images. This camera was usually a film camera capable of capturing individual frames. The animation was created frame by frame. Animators would move the cut-out characters and objects incrementally, taking a photograph of each frame to capture the desired movement. The animation required meticulous attention to detail, as even minor adjustments to the positions of the cut-outs could significantly impact the final animation. Some scenes involved superimposing multiple layers of cut-outs to create complex visual effects. This was achieved through optical printing techniques. After capturing all the frames, the individual images were edited together to create a seamless sequence of animated scenes. As a silent film, it used intertitles to convey dialogue and narrative information. These were likely created separately and incorporated into the final film.

Representation

"The Adventures of Prince Achmed" is a silent animated film that tells the story of Prince Achmed and his magical adventures in a fantastical world. The film draws inspiration from various tales from "One Thousand and One Nights" (Arabian Nights) and weaves them into a cohesive narrative. The story follows Prince Achmed, a young and brave prince, who embarks on a series of extraordinary adventures. Achmed is given a magical flying horse named Falada by a wicked sorcerer. He uses this horse to travel to distant lands and encounters various mythical and magical creatures. The film prominently features Achmed's magical steed, Falada. The horse has the power of flight, which allows Achmed to explore distant and enchanted lands. The depiction of Falada and its flights are visually captivating. The film explores themes of adventure, love, and magic. It depicts the excitement and peril of Achmed's journey, as well as the blossoming romance between Achmed and Pari Banu. The film is known for its distinctive visual style, created through silhouette animation. The characters and settings are depicted as intricate, finely detailed silhouettes against colorful backgrounds. This artistic choice adds to the film's otherworldly and dreamlike quality. Overall, it is a visually stunning and imaginative animated film that combines elements of fantasy, adventure, and romance. It showcases the magical and mythical aspects of the Arabian Nights tales while demonstrating Lotte Reiniger's pioneering use of silhouette animation to bring these stories to life on the screen.

Reception 

Like other films of its time, this film was intended to be projected onto a large screen for an audience to watch in a theater. The film is a silent film, meaning it did not have synchronized sound. During screenings, a live musical accompaniment would often be provided to enhance the viewing experience. This might include a pianist, organist, or even a small orchestra playing a musical score that was composed specifically for the film. The choice of music could greatly influence the mood and emotions of the audience. Silent films typically used intertitles—brief screens of text—to convey dialogue, narration, or essential information to the audience. These intertitles were inserted between scenes or sequences to help viewers follow the storyline. The film was widely praised for its innovative animation technique, which was unlike anything seen before. Lotte Reiniger's use of silhouette animation was considered groundbreaking, and audiences were captivated by the unique visual style it offered. I myself, saw it on YouTube, it is available for free with good video quality. I was astonished by how detailed the characters are and how well they are conveying the story. It truly was ahead of its time. The film was appreciated for its historical importance in the world of animation.

While it may not have enjoyed the widespread commercial success or recognition of some later animated films, "The Adventures of Prince Achmed" was appreciated for its artistic innovation and storytelling. Its pioneering use of silhouette animation and its lasting influence on animation as an art form have solidified its place in the history of cinema.

References

[atanimation]

About me

As I grew up watching movies and playing video games, I experienced so many great stories that I admire and love with all my heart, not because they were entertaining but more because I get to learn alot about life through through them and that helped me at lowest times of my life and completely transformed me from a Pessimist to an Optimist and I am really grateful for that. As I got older, I become obsessed with movies and with the process of making them. I used to spend hours on YouTube watching behind the scenes of my favorite films and draw their characters on sketchbooks and that was one of the happiest times of my life. That's when I found my passion and desire to do Visual storytelling that could bring some positive change in the world. I choose animation because I love to draw and play with colors ever since I was a child and the process of bringing non-living to living is absolutely fascinating to me. In animation, one can go as wild as he want with his imagination because there are no limits to tell stories in this medium which makes it even more interesting. Here are three animated things that I admire the most

WaLL-E (2008) : It is a beautiful and emotionally resonant film that showcases the power of animation to tell universal stories. The film follows the titular character, a waste-collecting robot, as he embarks on a journey across space to save humanity and find love. I first saw this film when I was 11 years old, in a cinema with my mother and it was a wonderful experience. I remember, in the end of the film everyone applaud and praised about the animation and the profound message it conveys.

The film's themes of environmentalism, consumerism, and the human connection to technology are explored with heart and sincerity, which makes us acknowledge the fact that how we are exploiting our planet and the consequences we are about to face. Furthermore, The character animation of WALL-E and EVE, the other robot protagonist, is superb and helps to convey their emotions even without dialogue. Moreover, I love the score of the film by composer Thomas Newman which is a beautiful blend of orchestral music and electronic sounds that add to the futuristic ambiance. Overall, "WALL-E" is a masterpiece of modern animation, touching on important themes with grace and humor. It is a film that will both entertain and inspire audiences of all ages.

2. Playdead's INSIDE : "Inside" is a visual masterpiece. The game employs a dark aesthetic characterized by its minimalist art style. It has a muted color palette that adds to the overall sense of bleakness and isolation. I like this game because it tells its story through environmental storytelling and let the players figure out the background story of the situation on their own. The eerie ambient sounds, minimalistic musical cues, and lack of dialogue all contribute to a sense of unease and curiosity that keeps us engaged and on edge of our seats throughout the experience.

The narrative is enigmatic and thought-provoking, with a series of cryptic events and unsettling moments that gradually unravel as you progress. The lack of explicit exposition encourages players to piece together the story themselves, which makes it a truly immersive and intellectually stimulating experience. Unlike other games, it is not made with a big budget and by a massive team and yet it is a masterpiece which tells us that it is a way of storytelling and a profound desire to tell stories that matters not big budget with a large team and I admire it for that. Nevertheless, it's a must-play game for everyone, especially for fans of atmospheric, narrative-driven games and showcases Playdead Studios' prowess in creating emotionally resonant experiences through gameplay and atmosphere.

3. Turbo (2013) : 'No dream is too big, and no dreamer is too small'. This film is for all those people who are afraid to Think Big and to Chase their Dreams. I remember, when I was in 8th grade, my school organized a race competition and I did not wanted to participate because I was afraid of facing the failure. Being aware of my situation, my best friend made me watch this film in his house a night before the race and it completely changed my mind. I did not win the race but I was happy, actually even happier than the guy who won, because I managed to gather the courage to defeat my Fear of facing Failure and I give credit to this film for that and also to my friend who persuade me to watch this film that day.

released in 2013, it takes us on a thrilling journey that combines speed, ambition, and heart. This movie revs up the engines of excitement while delivering a meaningful message about following one's dreams. The film's central character, Turbo, is a garden snail with an insatiable need for speed. Voiced by Ryan Reynolds, Turbo's infectious enthusiasm for racing sets him apart from his sluggish snail community. His dream of becoming the fastest snail on the planet is seemingly impossible but ultimately drives the plot forward. The animation in this movie is top-notch. The race scenes are super rad, and they make Turbo's speedy snail moments look totally awesome. You can practically feel the wind in your face as he zooms around. In a nutshell, Turbo's message about pursuing one's dreams and persevering in the face of challenges is a timeless one, making it an enjoyable and engaging cinematic experience and everyone should watch this film.