From original artists to "assembly-line" production studios (1 gen 1910 anni – 31 dic 1919 anni)

Descrizione:

In the Wikipedia this period is known as “From original artists to "assembly-line" production studios”. This period begins with the artist Winsor McCay’s film of his popular character “Little Nemo” followed significantly by “Gertie the Dinosaur” in 1914 film which is an early example of combining live-action and animation, it also features character development within the animation, it is the first animation to make use of key framing, inbetweening, registration marks and animation loops. These all became part of standard industry practice for traditional animation production for decades to come. He has other films that are noteworthy “How a Mosquito Operates” in 1912 and “The Sinking of the Lusitania” in 1918, he almost solely hand-drew each of the frames within his films.

Between 1915 and 1916 a Cartoon Film Company “Buxton and Dyer” produced 26 topical cartoons influenced by the events of the first world war, they mainly utilised cut-out animation. As it so happens larger-scale animation studios like this became the industry norm and artists like McCay faded from the public eye in favour of more commercial studios.

Production studios like Bray Productions give many aspiring cartoonists a starting point for their careers and the birth of many iconic characters like Farmer Alfalfa by Paul Terry and Bobby Bumps by Earl Hurd. The animators that pass through the door also later create characters like Heckle and Jeckle by Paul Terry, Betty Boop and Popeye by Max Fleischer, Woody Woodpecker by Walter Lantz.

The decade gives birth to one of the most recognized cartoon characters in film history and the first cartoon character to be merchandised, created by Otto Messmer of Pat Sullivan Studio, and claimed by the studio as was the common practice of the early days of studio animation the character is no other than Felix the cat.

Lastly this decade sees the first animated feature film. Released on 9th November 1917 in Argentina by Quirino Cristiani it was called “El Apóstol” and reportedly had 58,000 frames running at 14 frames per second. His other feature film “Sin dejar rastros” was released in 1918, however no press coverage and poor public attendance meant it was a failure, topped with the film being confiscated by the authorities due to political reasons. None of his feature films survived.

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