By Michael Barrier
In Hollywood Cartoons, Michael Barrier takes us on a wonderful guided journey of yankee animation within the Nineteen Thirties, '40s, and '50s, to satisfy the mythical artists and marketers who created insects Bunny, Betty Boop, Mickey Mouse, Wile E. Coyote, Donald Duck, Tom and Jerry, and plenty of different caricature favorites. starting with black-and-white silent cartoons akin to Winsor McCay's "Gertie the Dinosaur," Barrier bargains an insightful account of animation's first flowering, taking us within early ny studios and such Hollywood giants as Disney, Warner Bros., and MGM. Barrier excels at illuminating the artistic facet of animation--revealing how tales are prepare, how animators increase a personality, how technical ideas increase the "realism" of cartoons. right here too are colourful images of the giants of the sphere, from Walt and Roy Disney and their animators (including Ub Iwerks, invoice Tytla, and Ward Kimball), to Dave and Max Fleischer, Tex Avery, Bob Clampett, Chuck Jones, and invoice Hanna and Joe Barbera. And alongside the best way, Barrier offers us an within examine the making of such groundbreaking cartoons as "Out of the Inkwell" (with KoKo the Clown), "Steamboat Willie" (the first winning sound cartoon), "Snow White and the Seven Dwarfs," and "Bambi." The years from the melancholy via global conflict witnessed a golden age of yank animation. according to hundreds and hundreds of interviews with veteran animators, Hollywood Cartoons provides us the definitive within examine this colourful period and on the inventive strategy at the back of those really good cartoons.
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Extra resources for Hollywood Cartoons: American Animation in Its Golden Age
Example text
Bowers's contributions 20 Cartoon Acting are hard to assess in the absence of so many films, but there is this praise in an unsigned obituary in a 1947 newsletter of the cartoonists' union (clearly written by some former colleague, possibly Ted Sears, who began working at the Barre studio around 1917): "He was one of the first to eliminate angular stiffness from animation and substitute smooth action based upon the movement of curved forms. ; it appears to have been made not long after the armistice, probably in 1919, as a cautionary tale for restless soldiers.
Could not but impress aspiring producers of animated films. One young cartoonist who admired Terry's work first saw the Fables in Kansas City, Missouri, in the early twenties. "88 In 1921, when Walter Elias Disney was only nineteen years old (he was born in Chicago on 5 December 1901) he was working as a cartoonist at the Kansas City Film Ad Company, which 36 Cartoon Acting produced advertisements that were shown at local theaters.
It entailed tearing holes in the paper drawings so that, for instance, the moving part of a character's body was visible on one sheet while the stationary part was visible through the hole, on another sheet under it. When the two sheets were laid together, the camera saw them as one (at least if the torn paper's edges were feathered adequately), eliminating the need to redraw the stationary part. Such a system could have embraced torn background drawings as well as torn drawings of characters, but Barre evidently chose to use translucent sheets, probably of celluloid, on which the backgrounds were drawn or pasted.
