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Ergo Group

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Ryan Hill
Ryan Hill

7.2 0 Action Animation Comedy Family



Plot: Encanto is the heartwarming story of a magical family living in Colombia. Along the way, she discovers powerful magic within herself and true potential for greatness. Ultimately, this delightful animated musical comedy celebrates the power of overcoming fear, embracing change together, and the value of family. (Watch Trailer)




7.2 0 Action Animation Comedy Family



By 1897, German toy manufacturer Gebrüder Bing had a first prototype of their toy "kinematograph",[2] which they eventually presented at a toy convention in Leipzig in November 1898. Soon after, other toy manufacturers in Germany and France, including Ernst Plank, Georges Carette, and Lapierre, started selling similar devices. The toy cinematographs were basically traditional toy magic lanterns, adapted with one or two small spools that used standard "Edison perforation" 35mm film, a crank, and a shutter. These projectors were intended for the same type of "home entertainment" toy market that most of the manufacturers already provided with praxinoscopes and magic lanterns. Apart from relatively expensive live-action films, the manufacturers produced many cheaper films by printing lithographed drawings. These animations were probably made in black-and-white from around 1898 or 1899, but at the latest by 1902 they were made in color. The pictures were often traced from live-action films (much like the later rotoscoping technique). These very short films typically depicted a simple repetitive action and most were designed to be projected as a loop - playing endlessly with the film ends put together. The lithograph process and the loop format follow the tradition that was set by the stroboscopic disc, zoetrope and praxinoscope.[3][4]


In 1907, the French artist Émile Cohl started his filmmaking career with Japon de faintasie,[9] with imaginative use of stop motion techniques. His next short can be regarded as the first animated film using what came to be known as traditional animation methods: the 1908 Fantasmagorie.[10] The film largely consists of a stick figure moving about and encountering all manner of morphing objects, such as a wine bottle that transforms into a flower. There are also sections of live action where the animator's hands enters the scene. The film was created by drawing each frame on paper and then shooting each frame onto negative film, which gave the picture a blackboard look. Cohl later went to Fort Lee, New Jersey near New York City in 1912, where he worked for French studio Éclair and spread its animation technique to the US.


Starting with a short 1911 film of his most popular character Little Nemo, successful newspaper cartoonist Winsor McCay gave much more detail to his hand-drawn animations than any animation previously seen in cinemas. His 1914 film Gertie the Dinosaur featured an early example of character development in drawn animation.[13] It was also the first film to combine live-action footage with animation. Originally, McCay used the film in his vaudeville act: he would stand next to the screen and speak to Gertie who would respond with a series of gestures. At the end of the film McCay would walk behind the projection screen, seamlessly being replaced with a prerecorded image of himself entering the screen, getting on the cartoon dinosaur's back and riding out of frame.[14][15] McCay personally hand-drew almost every one of the thousands of drawings for his films.[11] Other noteworthy titles by McCay are How a Mosquito Operates (1912) and The Sinking of the Lusitania (1918).


When the Silly Symphonies series, started in 1929, was less popular than Disney had hoped, he turned to new technological innovation to improve the impact of the series. In 1932 he worked with the Technicolor company to create the first full-color animation Flowers and Trees, debuting the three-strip technique (the first use in live-action movies came circa two years later). The cartoon was successful and won an Academy Award for Short Subjects, Cartoons.[35] Disney temporarily had an exclusive deal for the use of Technicolor's full-color technique in animated films. He even waited a while before he produced the ongoing Mickey Mouse series in color, so the Silly Symphonies would have their special appeal to audiences. After the exclusive deal lapsed in September 1935, full-color animation soon became the industry standard.


Although all the other eight Disney features of the 1940s were package films, and/or combinations with live-action (for instance Saludos Amigos (1943) and The Three Caballeros (1944)), Disney kept faith in animated feature animation. Only a few other American animation studios also managed to release more than a handful of features before the beginning of the 1990s.


Many classical series from Walter Lantz, Warner Bros., Terrytoons, MGM, and Disney similarly found a new life in TV shows for children, with many reruns, for decades. Instead of studio settings and live-action presentations, some shows would feature new animation to present or string together the older cartoons.


After a string of package features and live-action/animation combos, Disney returned to fully animated feature films with Cinderella in 1950 (the first since Bambi). Its success practically saved the company from bankruptcy. It was followed by Alice in Wonderland (1951), which flopped at the box office and was critically panned. Peter Pan (1953) and Lady and the Tramp (1955) were hits. The ambitious, much delayed, and more expensive Sleeping Beauty (1959) lost money at the box office and caused doubts about the future of Walt Disney's animation department. Like "Alice in Wonderland" and most of Disney's flops, it would later be commercially successful through re-releases and would eventually be regarded as a true classic.


For One Hundred and One Dalmatians (1961) production costs were restrained, helped by the xerography process that eliminated the inking process. Although the relatively sketchy look was not appreciated by Walt Disney personally, it did not bother critics or audiences and the film was another hit for the studio. The Sword in the Stone (1963) was another financial success, but over the years it has become one of the least-known Disney features. It was followed by the live-action/animation hit Mary Poppins (1964) which received 13 Academy Awards nominations, including Best Picture. Disney's biggest animated feature of the 1960s was The Jungle Book (1967) which was both a critical and commercial success. This was also the final film that was overseen by Walt Disney before his death in 1966. Without Walt's imagination and creative endeavors, the animation teams were unable to produce many successful films during the 1970s and 1980s. This was until the release of The Little Mermaid (1989), 22 years later.


Before the end of the 1960s, hardly any adult-oriented animation had been produced. A notable exception was the pornographic short Eveready Harton in Buried Treasure (1928), presumably made by famous animators for a private party in honor of Winsor McCay, and not publicly screened until the late 1970s. After 1934, the Hays code gave filmmakers in the United States little leeway to release risky material, until the code was replaced by the Motion Picture Association of America film rating system in 1968. While television programming of animation had made most people think of it as a medium for children or family entertainment, new theatrical animations proved otherwise.


Ralph Bakshi thought that the idea of "grown men sitting in cubicles drawing butterflies floating over a field of flowers, while American planes are dropping bombs in Vietnam and kids are marching in the streets, is ludicrous."[54] He, therefore, created a more sociopolitical type of animation, starting with Fritz the Cat (1972), based on Robert Crumb's comic books and the first animated feature to receive an X-rating. The X-rating was used to promote the film and it became the highest-grossing independent animated film of all time. The success of Heavy Traffic (1973) made Bakshi the first since Disney to have two financially successful animated feature films in a row. The film utilized an artistic blend of techniques with still photography as the background in parts, a live-action scene of models with painted faces rendered in negative cinematography, a scene rendered in very limited sketchy animation that was only partly colored, detailed drawing, archival footage, and most characters animated in a consistent cartoon style throughout it all, except the last ten minutes which were fully filmed as a standard live-action film. He continued to experiment with different techniques in most of his next projects. His next projects Hey Good Lookin' (finished in 1975, but shelved by Warner Bros. until release in an adjusted version in 1982) and Coonskin (1975, suffered from protests against its perceived racism while satirizing it) was far less successful, but received more appreciation later on and became cult films.


In cinemas, Robert Zemeckis' live-action/animation hit Who Framed Roger Rabbit (1988) also harked back to the quality and zany comedy of the golden age of cartoons, with cameos of many of the superstars of that era, including Mickey, Minnie, Donald, Goofy, Betty Boop, Droopy, Woody Woodpecker and the Mel Blanc-voiced Bugs Bunny, Daffy Duck, Porky Pig, Tweety, and Sylvester. The film won several Oscars and helped revive interest in theatrical feature animation and classic cartoons. The fully animated Roger Rabbit short film Tummy Trouble (1989) was then packaged with the live-action family comedy Honey, I Shrunk the Kids and believed to have helped that movie's quick start at the box-office.[69] In collaboration with Steven Spielberg's Amblin Entertainment, Bluth's An American Tail (1986) became the highest-grossing non-Disney animated film at the time. The Land Before Time (1988) was equally successful, but Bluth's next five feature films flopped. 041b061a72


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