DOCSLIB.ORG

Animation: a World History Volume I: Foundations—The Golden Age The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Animation: a World History Volume I: Foundations—The Golden Age The This article was downloaded by: 10.3.98.104 On: 01 Oct 2021 Access details: subscription number Publisher: CRC Press Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK Animation: A World History Volume I: Foundations—The Golden Age Giannalberto Bendazzi The Silent Pioneers (1908–1928) Publication details https://www.routledgehandbooks.com/doi/10.1201/9781315721057-3 Giannalberto Bendazzi Published online on: 17 Nov 2015 How to cite :- Giannalberto Bendazzi. 17 Nov 2015, The Silent Pioneers (1908–1928) from: Animation: A World History, Volume I: Foundations—The Golden Age CRC Press Accessed on: 01 Oct 2021 https://www.routledgehandbooks.com/doi/10.1201/9781315721057-3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 THE SILENT PIONEERS (1908–1928) The Cradle Europe was almost intact on the western side but was com- pletely new on the eastern one. Austria had become a small Days of Heaven and Hell country; Poland was independent again after more than 120 years; independent again, although territorially muti- Politically, economically, and militarily, the first fourteen lated, were Hungary and Ireland; a new republic combined years of the twentieth century were the continuance of the the Czech and the Slovak peoples; a new kingdom tried to century before. The only novelty was the dawning of Japan glue together, under the name of Yugoslavia, Serbs, Croats, as a modern power after the Meiji Restoration of 1868, Slovenes, Bosnians, Macedonians, Montenegrins, and vari- the annexation of Formosa (which later became Tai- ous minorities; and Albania, Lithuania, Latvia, Estonia, and wan) in 1896, the victorious war against Tsarist Russia in Finland made their debut on the international stage. 1904–1905, and the conquest and colonization of Korea Germany and Austria-Hungary had lost the war, but in 1910. everybody in Europe lost peace. The global map was only slightly and peripherally Economies were out of breath. Great Britain started to retouched according to new colonized areas or because realize that her gigantic empire was more expensive than of changes of influence (since 1898, for instance, after profitable; France suffered from a chronic political instability; having defeated Spain, the United States has exercised a and Italy fell into a fascist dictatorship. After the Bolshevik de facto protectorate on Cuba, Puerto Rico, Guam, and coup d’état and a civil war (1917–1920), Russia had become the Philippines). In 1901, Australia became independent; everybody’s bugbear. Her new name was the Union of the in 1910, Mexico was the scene of the first revolution of Socialist1 Soviet Republics, and until the late 1920s her pro- the century, with many social and political implications; ject was to expand the proletarian revolution to the whole and in 1911, the Chinese Empire became the Chinese planet. The threat was real: In many states, communist par- Republic. ties were active and had well-organized groups of devotees. In the developed countries, the middle class was in such The United States, whose intervention in 1917 had tipped full bloom that the era was called the Belle Époque. the scale in favour of England and her allies, eventually dis- On 28 June 1914, in Sarajevo (Bosnia), a student agreed with European politics and chose isolationism. She by the name of Gavrilo Princˇip assassinated Archduke enjoyed a good economic situation and experienced excit- Franz Ferdinand of Habsburg, heir to the throne of the ing times that were called the Roaring 1920s, the Jazz Age, Austro-Hungarian Empire. The Viennese Chancellery or the Lawless Decade – depending on the standpoint. regarded the government of Serbia, Princˇip’s country, as responsible. A month later, the chancellery declared a war that would become the largest slaughter in history up to Culture that point in time. Six or seven years later, after the end of World War Intellect ran a different course. Most revolutions took I and the signature of various peace treaties, the map of place before World War I. In 1900, Sigmund Freud 1 Why ‘socialist’ instead of ‘communist’? According to Marxist principles, ‘socialist’ is the temporary system that eventually leads to a ‘communist’ society. Of course, democratic socialist parties such as the British Labour Party gave the word a very different meaning. Downloaded By: 10.3.98.104 At: 20:19 01 Oct 2021; For: 9781315721057, chapter3, 10.1201/9781315721057-3 30 Chapter 3: The Cradle published The Interpretation of Dreams and Max Planck Cinema developed quantum theory; in 1903, Ivan P. Pavlov dis- covered conditioned reflexes; in 1905, Albert Einstein The world of film expanded vigorously, too. Production introduced the theory of relativity, while Fauvism (Mat- companies stopped aiming at an illiterate and proletar- isse, Derain, and Vlaminck) was marking French paint- ian audience, as middle-class customers proved that they ing and the artistic movement Die Brücke was founded considered cinema as entertaining as legitimate theatre. in Dresden. In 1907, Pablo Picasso painted Les demoiselles Movie houses began to replace itinerant shows more and d’Avignon, starting cubism, and Georges Braque enthu- more, distribution became a well-organized profession, siastically seconded him; in 1908, Wilhelm Worringer and the star system gained a footing. published Abstraktion und Einfühlung – Ein Beitrag zur Stilpsy- By 1915 (the year of David W. Griffith’s The Birth of a chologie (Abstraction and Empathy: Essays in the Psychology of Nation), the cinema of attractions had given way to clas- Style, one of the most widely read books on the theory sical cinema (or the cinema of institutions). By the end of art); in 1908, Arnold Schönberg started atonal music, of the 1920s, cinema was already considered the Sev- 3 the first phase of dodecaphony (and in 1908, Émile Cohl enth Art, and some masterpieces had already made their created Fantasmagorie). In 1909, Filippo Tommaso Mari- mark, including Charlie Chaplin’s shorts and features The netti published the ‘Futurist Manifesto’2; in 1913, Marcel Kid (1921) and The Gold Rush (1925); Robert J. Flaherty’s Proust published Swann’s Way, the first tome of his In Search Nanook of the North (1921); Friedrich Wilhelm Murnau’s of Lost Time. In the same year, Igor Stravinsky wrote The Nosferatu (1922), The Last Laugh (1925), and Sunrise (1927); Rite of Spring, Ferdinand de Saussure wrote the Course in Sergei M. Eisenstein’s Battleship Potemkin (1925); Buster General Linguistics, and Bengali poet Rabindranath Tagore Keaton’s The General (1927); Carl Th. Dreyer’s The Passion was given the Nobel Prize. of Joan of Arc (1928); and King Vidor’s The Crowd (1928). The rush would slow down but not stop. During the Within this general outline, silent animation matters for war, James Joyce, Luigi Pirandello, Franz Kafka, and the specialists only. Although some good animated films Vladimir Mayakovsky published their works; various art- were made, the phenomenon as a whole was little more ists founded the Dada movement; and Piet Mondrian and than a curiosity. Theo Van Doesburg founded De Stijl. After the war, Wal- ter Gropius founded the Bauhaus in Weimar and Ameri- can writers such as Gertrude Stein, Ernest Hemingway, Narrative and Non-Narrative Sherwood Anderson, Eugene O’Neill, and later Francis Scott Fitzgerald (the ‘lost generation’) gathered in Paris. Handbooks tell us that the cinema of attractions was In 1922, poet Thomas S. Eliot published the verses of The based on non-fiction films, while the classical cinema was Waste Land and philosopher Ludwig Wittgenstein pub- based on narrative and narrative language. The shift took lished his Tractatus logico-filosoficus; one year later, another more a decade, but little by little audiences were driven to German philosopher, Martin Heidegger, published Being agree that consecutive scenes meant various moments of and Time. In 1923, Lu Hsun published his collected short the same action; that a close-up didn’t imply that the actor stories with the title of A Call to Arms. Surrealism was born had been beheaded; that an iris in/iris out signified the in 1924, the same year as George Gershwin’s Rhapsody in passing of time or a change of place; and so on. In other Blue and the first jazz orchestra conducted by Duke Elling- words, via trial and error, an alliance of audiences and ton. German physicist Werner Heisenberg developed the filmmakers created the special visual (later audiovisual) uncertainty principle in 1927. language of cinema. 2 Futurism was unique in that it existed entirely on paper some time before any actual works were produced. It was, in fact, not only an artistic but also a cultural, political, and ethic movement, and the Manifesto was basically a harangue. Its aim became the repre- sentation, by distorting and disarranging images, of the ceaseless activity and confusion of modern urban life. It was an age in which intoxicating new forms of transport and communication – bicycles, motorcycles, cars, express trains, planes, ocean liners, the telegraph, the telephone – seemed to be transforming the globe and even the human race. The initial futurist exhibition opened in Paris in Febru- ary 1912, eliciting outraged criticism, and then went on a tour of northern European capitals, taking in London, Berlin, Amsterdam, and Brussels, from which news of the movement rapidly spread, soon reaching the United States, Russia, and Japan.
Load more

Recommended publications
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • The Formation of Temporary Communities in Anime Fandom: a Story of Bottom-Up Globalization ______
    THE FORMATION OF TEMPORARY COMMUNITIES IN ANIME FANDOM: A STORY OF BOTTOM-UP GLOBALIZATION ____________________________________ A Thesis Presented to the Faculty of California State University, Fullerton ____________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in Geography ____________________________________ By Cynthia R. Davis Thesis Committee Approval: Mark Drayse, Department of Geography & the Environment, Chair Jonathan Taylor, Department of Geography & the Environment Zia Salim, Department of Geography & the Environment Summer, 2017 ABSTRACT Japanese animation, commonly referred to as anime, has earned a strong foothold in the American entertainment industry over the last few decades. Anime is known by many to be a more mature option for animation fans since Western animation has typically been sanitized to be “kid-friendly.” This thesis explores how this came to be, by exploring the following questions: (1) What were the differences in the development and perception of the animation industries in Japan and the United States? (2) Why/how did people in the United States take such interest in anime? (3) What is the role of anime conventions within the anime fandom community, both historically and in the present? These questions were answered with a mix of historical research, mapping, and interviews that were conducted in 2015 at Anime Expo, North America’s largest anime convention. This thesis concludes that anime would not have succeeded as it has in the United States without the heavy involvement of domestic animation fans. Fans created networks, clubs, and conventions that allowed for the exchange of information on anime, before Japanese companies started to officially release anime titles for distribution in the United States.
    [Show full text]
  • The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
    Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons.
    [Show full text]
  • Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in Partial Fulfillment of the Re
    The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Casiana Elena Ionita All rights reserved ABSTRACT The Educated Spectator: Cinema and Pedagogy in France, 1909-1930 Casiana Elena Ionita This dissertation draws on a wide range of sources (including motion pictures, film journals, and essays) in order to analyze the debate over the social and aesthetic role of cinema that took place in France from 1909 to 1930. During this period, as the new medium became the most popular form of entertainment, moralists of all political persuasions began to worry that cinematic representations of illicit acts could provoke social unrest. In response, four groups usually considered antagonistic — republicans, Catholics, Communists, and the first film avant- garde known as the Impressionists — set out to redefine cinema by focusing particularly on shaping film viewers. To do so, these movements adopted similar strategies: they organized lectures and film clubs, published a variety of periodicals, commissioned films for specific causes, and screened commercial motion pictures deemed compatible with their goals. Tracing the history of such projects, I argue that they insisted on educating spectators both through and about cinema. Indeed, each movement sought to teach spectators of all backgrounds how to understand the new medium of cinema while also supporting specific films with particular aesthetic and political goals. Despite their different interests, the Impressionists, republicans, Catholics, and Communists all aimed to create communities of viewers that would learn a certain way of decoding motion pictures.
    [Show full text]
  • Promenades Suisses : Langues, Littératures Et Cultures
    Promenades suisses : langues, littératures et cultures Dialogues Mulhousiens Numéro 2 Décembre 2018 ISSN 2496 – 0004 http://dialogues.hypotheses.org/ Le présent numéro est le premier dossier inaugurant une série dédiée au panorama littéraire, culturel et linguistique de la Confédération helvétique, visant à valoriser les travaux et les réflexions des étudiants, des doctorants et des enseignants-chercheurs de l’Université de Haute-Alsace. Le travail rédactionnel du présent dossier a été assuré par l’équipe de rédaction de Dialogues Mulhousiens (http://dialogues.hypotheses.org/), un espace scientifique consacré à la réflexion sur la recherche par la recherche des jeunes chercheurs gravitant autour de l’espace mulhousien. L’équipe de rédaction est chapeautée par Alessandra Ballotti, la revue/plateforme est dirigée par Tania Collani. Toutes les contributions ici publiées ont été soumises à un processus de relecture et d’évaluation. Promenades suisses : langues, littératures et cultures sous la direction de Clémence Bauer Dialogues Mulhousiens ISSN 2496 – 0004 Décembre 2018 Conception de couverture : Inkar Kuramayeva Photo de couverture : Irena Senkerikova https://dialogues.hypotheses.org Présentation Clémence Bauer Université de Haute-Alsace ILLE (EA 4363) Ce dossier de la revue Dialogues Mulhousiens se propose d’explorer le vaste panorama littéraire, culturel et linguistique suisse et ses spécificités. Le présent dossier, qui veut inaugurer une série à venir, présente des contributions, en français et en italien, sur l’ensemble des aspects
    [Show full text]
  • Cartooning America: the Fleischer Brothers Story
    NEH Application Cover Sheet (TR-261087) Media Projects Production PROJECT DIRECTOR Ms. Kathryn Pierce Dietz E-mail: [email protected] Executive Producer and Project Director Phone: 781-956-2212 338 Rosemary Street Fax: Needham, MA 02494-3257 USA Field of expertise: Philosophy, General INSTITUTION Filmmakers Collaborative, Inc. Melrose, MA 02176-3933 APPLICATION INFORMATION Title: Cartooning America: The Fleischer Brothers Story Grant period: From 2018-09-03 to 2019-04-19 Project field(s): U.S. History; Film History and Criticism; Media Studies Description of project: Cartooning America: The Fleischer Brothers Story is a 60-minute film about a family of artists and inventors who revolutionized animation and created some of the funniest and most irreverent cartoon characters of all time. They began working in the early 1900s, at the same time as Walt Disney, but while Disney went on to become a household name, the Fleischers are barely remembered. Our film will change this, introducing a wide national audience to a family of brothers – Max, Dave, Lou, Joe, and Charlie – who created Fleischer Studios and a roster of animated characters who reflected the rough and tumble sensibilities of their own Jewish immigrant neighborhood in Brooklyn, New York. “The Fleischer story involves the glory of American Jazz culture, union brawls on Broadway, gangsters, sex, and southern segregation,” says advisor Tom Sito. Advisor Jerry Beck adds, “It is a story of rags to riches – and then back to rags – leaving a legacy of iconic cinema and evergreen entertainment.” BUDGET Outright Request 600,000.00 Cost Sharing 90,000.00 Matching Request 0.00 Total Budget 690,000.00 Total NEH 600,000.00 GRANT ADMINISTRATOR Ms.
    [Show full text]
  • National Film Registry
    National Film Registry Title Year EIDR ID Newark Athlete 1891 10.5240/FEE2-E691-79FD-3A8F-1535-F Blacksmith Scene 1893 10.5240/2AB8-4AFC-2553-80C1-9064-6 Dickson Experimental Sound Film 1894 10.5240/4EB8-26E6-47B7-0C2C-7D53-D Edison Kinetoscopic Record of a Sneeze 1894 10.5240/B1CF-7D4D-6EE3-9883-F9A7-E Rip Van Winkle 1896 10.5240/0DA5-5701-4379-AC3B-1CC2-D The Kiss 1896 10.5240/BA2A-9E43-B6B1-A6AC-4974-8 Corbett-Fitzsimmons Title Fight 1897 10.5240/CE60-6F70-BD9E-5000-20AF-U Demolishing and Building Up the Star Theatre 1901 10.5240/65B2-B45C-F31B-8BB6-7AF3-S President McKinley Inauguration Footage 1901 10.5240/C276-6C50-F95E-F5D5-8DCB-L The Great Train Robbery 1903 10.5240/7791-8534-2C23-9030-8610-5 Westinghouse Works 1904 1904 10.5240/F72F-DF8B-F0E4-C293-54EF-U A Trip Down Market Street 1906 10.5240/A2E6-ED22-1293-D668-F4AB-I Dream of a Rarebit Fiend 1906 10.5240/4D64-D9DD-7AA2-5554-1413-S San Francisco Earthquake and Fire, April 18, 1906 1906 10.5240/69AE-11AD-4663-C176-E22B-I A Corner in Wheat 1909 10.5240/5E95-74AC-CF2C-3B9C-30BC-7 Lady Helen’s Escapade 1909 10.5240/0807-6B6B-F7BA-1702-BAFC-J Princess Nicotine; or, The Smoke Fairy 1909 10.5240/C704-BD6D-0E12-719D-E093-E Jeffries-Johnson World’s Championship Boxing Contest 1910 10.5240/A8C0-4272-5D72-5611-D55A-S White Fawn’s Devotion 1910 10.5240/0132-74F5-FC39-1213-6D0D-Z Little Nemo 1911 10.5240/5A62-BCF8-51D5-64DB-1A86-H A Cure for Pokeritis 1912 10.5240/7E6A-CB37-B67E-A743-7341-L From the Manger to the Cross 1912 10.5240/5EBB-EE8A-91C0-8E48-DDA8-Q The Cry of the Children 1912 10.5240/C173-A4A7-2A2B-E702-33E8-N
    [Show full text]
  • Animation's Exclusion from Art History by Molly Mcgill BA, University Of
    Hidden Mickey: Animation's Exclusion from Art History by Molly McGill B.A., University of North Carolina at Chapel Hill, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Art & Art History 2018 i This thesis entitled: Hidden Mickey: Animation's Exclusion from Art History written by Molly McGill has been approved for the Department of Art and Art History Date (Dr. Brianne Cohen) (Dr. Kirk Ambrose) (Dr. Denice Walker) The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. ii ACKNOWLEDGMENTS I would like to thank the Department of Art History at the University of Colorado at Boulder for their continued support during the production of this master's thesis. I am truly grateful to be a part of a department that is open to non-traditional art historical exploration and appreciate everyone who offered up their support. A special thank you to my advisor Dr. Brianne Cohen for all her guidance and assistance with the production of this thesis. Your supervision has been indispensable, and I will be forever grateful for the way you jumped onto this project and showed your support. Further, I would like to thank Dr. Kirk Ambrose and Dr. Denice Walker for their presence on my committee and their valuable input. I would also like to extend my gratitude to Catherine Cartwright and Jean Goldstein for listening to all my stress and acting as my second moms while I am so far away from my own family.
    [Show full text]
  • To Infinity and Back Again: Hand-Drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation
    To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation Haswell, H. (2015). To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar's Pioneering Animation. Alphaville: Journal of Film and Screen Media, 8, [2]. http://www.alphavillejournal.com/Issue8/HTML/ArticleHaswell.html Published in: Alphaville: Journal of Film and Screen Media Document Version: Publisher's PDF, also known as Version of record Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2015 The Authors. This is an open access article published under a Creative Commons Attribution-NonCommercial-NoDerivs License (https://creativecommons.org/licenses/by-nc-nd/4.0/), which permits distribution and reproduction for non-commercial purposes, provided the author and source are cited. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:28. Sep. 2021 1 To Infinity and Back Again: Hand-drawn Aesthetic and Affection for the Past in Pixar’s Pioneering Animation Helen Haswell, Queen’s University Belfast Abstract: In 2011, Pixar Animation Studios released a short film that challenged the contemporary characteristics of digital animation.
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • Alfredo Casella and "'!He Montjoie! Affair"
    Alfredo Casella and "'!he Montjoie! Affair" Francesco Parrino Although John C. G. Waterhouse described him as "the most influentially innovative figure in Italian music between the two world wars,"l the composer Alfredo Casella (1883-1947) occupies a rather shadowy place in the history of twentieth-century music. Casella has fallen into oblivion for various reasons, but what lies behind most of these reasons is the fact that Italians still find it hard to deal detachedly with their Fascist past. In fact, during Mussolini's dictatorship Casella While researching and writing this paper I benefited from the invaluable advice of many scholars, mentors, and friends; I am especially grateful to my supervisor Erik Levi, and to Amanda Glauert, Roger Parker, Francesco Solitario, Richard Taruskin, and Janet Waterhouse. I am also indebted to Renato Badall for letting me hear a rare recording of Casella's "Notte di Maggio" (whichis kept in his extraordinarily rich sound archive), as well as to Arbie Orenstein for making me aware ofinteresting details concerning the intellectual links between Canudo and Ravel. I must also express my deep gratitude to Giovanni Morelli of the Fondazione Giorgio Cini, Venice, and to Ulrich Mosch of the Paul Sacher Stiftung, Basel, for allowing me to study important primary sources related to Casella and Stravinsky. Last but not least, many thanks to Sarah Bruce and Cristiano Ostinelli ofBMG-Ricordi for providing me with a perusal score of "Notte di Maggio" as well as for giving copyright clearance for the music examples. My research was supported by the University of London Central Research Found, which awarded me a grant to visit various Italian libraries and archives in the spring of 2004.
    [Show full text]