Category Archives: Group 6
Our textbook, Of Mice and Magic, mentions that Walter Lantz was a survivor (1, 159). Lantz was a survivor for many reasons, as he owned and operated his own cartoon studio for years, obtained the best talent when it was available, and when things went south, had the ability to take things into his own […] Continue reading
This is true as the audience we do enjoy being able to connect with the character well and we do this especially so when we recognize differant characteristics within a cartoon. In this case with gertie, for example seeing her chew like a cow and walk … Continue reading
This blog post is very interesting and I commend you on taking ideas from our textbook and merging them with your own knowledge. Indeed Gertie possessed many qualities that set her apart from other early animations and made her more appealing to the au… Continue reading
Kaila, very nice job combining material from the lecture and your own thinking.
Upon first glance, Winsor McCay’s Gertie the Dinosaur (1) does not have a lot going for it. The cartoon, created in 1914, is in black and white, has no vocal sound (you need to read title cards), and has inconsistent animation (the background shimmers from time to time). But despite these qualities, Gertie, even today, […] Continue reading
The first films created by the Lumière brothers were made to study what could be captured on film. The subjects of their films were the citizens of France and what they did in their day-to-day lives. The Lumière brothers filmed the people of the working class, the elites, family life, and modes of transportation (boats […] Continue reading
The world has been conveying motion in art for hundreds of years in a variety of ways. Though early works were unable to create the illusion of movement before the late 19th – 20th centuries, they were still able to show motion through important actions and movements. Here, I have a Qing Dynasty (1644-1912) painting […] Continue reading
I completely agree with this. It’s hard to imagine any cartoon that doesn’t use the squash and stretch. The lack of exaggeration would lose the cartoon’s ability to move the way they’ve always been shown and therefore lose some entertainment factor. It’s great that you’ve slowed down these clips to make the squash and stretch more obvious because in movies like the Lion King, it was so subtle. Continue reading
I agree the squash and stretch principle is vital to all cartoons because it allows the characters to portray extreme emotion whether it is being excited or angry. All cartoonists have used it at somepoint. If someone said squash and stretch to me in r… Continue reading
I was telling my mother about the animation class and explaining some of the principles of animation that we discussed. In order for her to understand I kept having to refer her to Wile E. Coyote and the Road Runner cartoons, which pretty much exaggerate EVERYTHING they do and have classic, but extreme, examples of everything from squash and stretch to anticipation. I see now Tom and Jerry would have worked, too. It’s also nice to see that these effects can be subtly and effectively used.
Also – your clips are excellent! Good choices and good vision for catching these examples. Continue reading