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Animate d Movies
March 5
2012
Submitted to:
Ayesha Aziz Amna Farooq Iqra Sayed Mahnoor Qureshi Ayesha Saddique Faiqa Parveaz
Contents
CONTENTS................................................................................................2 INTRODUCTION ........................................................................................4 HISTORY OF ANIMATED MOVIES.................................................................4 SILENT AGE...................................................................................................4 FIRST ANIMATED PROJECTION (SCREENING)......................................................................................4 FIRST ANIMATED PROJECTION (PHOTOGRAPHED) ...............................................................................5 FIRST ANIMATED PROJECTION (TRADITIONAL)....................................................................................5 FIRST ANIMATED CARTOONS......................................................................................................5 GOLDEN AGE.................................................................................................5 ANIMATION IN PAST AND PRESENT ...........................................................6 WALT DISNEY: ..........................................................................................6 THE DEBUT OF MICKEY MOUSE: .................................................................7 THE FLEISCHER BROTHERS: INVENTORS, CARTOON MAKERS ......................7 KO-KO THE CLOWN ...................................................................................8 BIMBO .....................................................................................................8 BETTY BOOP ............................................................................................8 POPEYE .......................................................................................................9 SUPERMAN ...................................................................................................9 INTRODUCTION OF COMPUTERS AND ANIMATION ......................................9 TELEVISION....................................................................................................9 PRIMETIME ANIMATED SERIES...............................................................................10 2|Page
HOW ANIMATIONS ARE MADE?.................................................................10 BACKGROUNDS..............................................................................................10 DIALOGUE AND MUSIC.......................................................................................11 ANIMATION..................................................................................................11 INK AND PAINT..............................................................................................11 FILMING.....................................................................................................11 FOR EXAMPLE ..............................................................................................12 LESSON FROM MOVIE UP .......................................................................................................12 MORAL LESSON FROM SNOW WHITE ..........................................................................................13 VIOLENCE IN ANIMATED MOVIES..............................................................13 EXAMPLES...................................................................................................14 ACCORDING TO RESEARCHES................................................................................14 STUDY BY ALBERT BANDURA...............................................................................15 IMPACT OF VIOLENT ANIMATED MOVIES ON CHILDREN.......................................................15 COMMITMENT OF VIOLENCE BY CHILDREN IN SCHOOL.......................................................15 WOMENS RACE AND CULTURE IN ANIMATED MOVIES................................16 RELIGIOUS ANIMATED MOVIES ................................................................16
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Animated movies
Introduction
The word animate comes from the Latin verb animare, meaning to make alive or to fill with breath. Animation by modern definition is Animation is a graphic representation of drawings to show movement within those drawings. A series of drawings are linked together and usually photographed by a camera. The drawings have been slightly changed between individualized frames so when they are played back in rapid succession (24 frames per second) there appears to be seamless movement within the drawings.
Silent Age
First animated projection (screening)
First screening animated projection was created in France, by Charles-mile Reynaud, who was a French science teacher. Reynaud created the Praxinoscope in 1877 and the Thtre Optique in December 1888. On 28 October 1892, he projected the first animation in public, Pauvre Pierrot, at the Muse Grvin in Paris. This film is also notable as the first known instance of film perforations being used. His films were
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not photographed, but drawn directly onto the transparent strip. In 1900, more than 500,000 people had attended these screenings.
Golden Age
From the 1930s to 1960s, theatrical cartoons were produced in huge numbers, and usually shown before a feature film in a movie theater. MGM, Disney, Paramount and Warner Brothers were the largest studios producing these 5 to 10-minute "shorts". The first cartoon to use a soundtrack was in 1926 with Max Fleischer's My Old Kentucky Home. However the Fleischers used a De Forest sound system and the sound was not completely synchronized with the film. Walt Disney's 1928 cartoon Steamboat Willie starring Mickey Mouse was the first to use a click track during the recording session, which produced better synchronism. "Mickey Mousing" became a term for any movie action (animated or live action) that was perfectly synchronized with music. The
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music used is original most of the time, but musical quotation is often employed. Animated characters usually performed the action in "loops", i.e., drawings were repeated over and over.
Walt Disney:
A classic animator in the early days of cinema was Walt Disney, originally an advertising cartoonist at the Kansas City Film Ad Company, who initially experimented with combining animated and live-action films. The very first films he made himself at his own animation studio in Kansas City were short cartoons called Newman Laugh-O-Grams, such as Little Red Riding Hood - the first Walt Disney cartoon, and the Four Musicians of Bremen. His first successful silent cartoons, after relocating and setting up his own studio in Los Angeles (the Disney Brothers Studio) were a series of shorts including 56 episodes called Alice Comedies that debuted in 1924 with Alice's Day at Sea. Disney's Alice cartoons placed a live-action title character (Alice) into an animated Wonderland world. Soon after, Oswald the Lucky Rabbit became Disney's first successful animal star in a 26-cartoon series distributed by Universal beginning in 1927. Oswald was the first Disney character to be merchandized. Oswald appeared in a number of cartoon shorts, such as: Trolley Troubles and Poor Papa. Disney produced about two dozen of the silent, black and white Oswald cartoons from 1927-1928 until forced to give up the character to Walter Lantz. He moved onto another memorable character - first named Mortimer Mouse - or Mickey Mouse in 1928.
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process - it was a device used to overlay drawings on live-action film. The Fleischers were also pioneering the use of 3-D animation landscapes, and produced the hour-long Einstein's Theory of Relativity, the first feature animation. The Fleischer Brothers also made the first animated films (cartoons) that featured a soundtrack, in a series of 36 films called Ko-Ko Song Car-Tunes. The first sound cartoon was one of the Song Car-Tunes -Mother Pin a Rose on Me. They were also the first audience participation films, with sing-along lyrics and a 'bouncing-ball' helper. Twelve of the 36 short films were released in both sound and silent versions.
Bimbo
From 1929-1932, their Talkartoons for Paramount starred a mouse-like character named Bimbo - who was soon relegated to a minor companion co-star with the Fleischer's next racy cartoon star.
Betty Boop
Max Fleischer was responsible for the provocative, adult-oriented, cartoon Betty Boop vamp-character, who always wore a strapless, thigh-high gown (and visible garter) and was, based on flapper icon Clara Bow's 'It' Girl and Mae West.
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Popeye
The Fleischers also obtained the rights to the tough, one-eyed, spinach-loving sailor Popeye with oversized arms who was introduced in January 1929 in creator Elzie C. Segar's "Thimble Theatre" newspaper comic strip published in the New York Journal for King Features Syndicate since 1919. Popeye became so popular in the comic strip that it was renamed "Thimble Theatre, Starring Popeye."
Superman
Dave and Max Fleischer, in an agreement with Paramount and DC Comics, also produced a series of seventeen Superman cartoons in the early 1940s. The first Superman short, Superman, which premiered in 1941, introduced the terms "faster than a speeding bullet" and "Look, up in the sky!" The most famous of the series was the second entry, The Mechanical Monsters.
Television
Competition from television drew audiences away from movie theaters in the late 1950s, and the theatrical cartoon began its decline. Today, animated cartoons are produced mostly for television. American television animation of the 1950s featured quite limited animation styles, highlighted by the work of Jay Ward on Crusader Rabbit. Other notable 1950s programs include UPA's Gerald McBoing 9|Page
Boing, Hanna-Barbera's Huckleberry Hound and Quick Draw McGraw, and rebroadcast of many classic theatrical cartoons from Warner Brothers, MGM, and Disney.
Backgrounds
The backgrounds are painted on cardboard or celluloid with tempera, acrylic or sometimes even oil paints. The backgrounds are the "landscape" in which the characters are moving, and they are often made into large-size panoramas, "pan backgrounds", considerably larger than the picture format. The camera follows the characters as they move across the background. This background is painted in a format suitable for a vertical camera move. 10 | P a g e
Animation
Now the real work begins. Every second of finished film consists of 24 frames, requiring 12 to 24 drawings, depending upon the speed of movement - faster movements need more drawings per second, slower moves can be animated with less, with three or even more frames shot of every drawing. The difference between two successive frames can be almost negligible, an arm moves a fraction of a millimeter, for instance. The animated drawings are filmed on black & white film to check the smoothness of the movements (this is called a pencil test).
Filming
The filming is carried out on an "animation stand". Sometimes the picture is divided into several levels (4 on this "multiplane" stand), separated by about 30 cm, or 12". The foremiddle- and backgrounds of the landscape are on different levels, so a certain 3dimensional effect is achieved, especially when the camera or background is moving.
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Impact on society
Animated movies leave an impact on our heart and mind. Kids are greatly influenced by these movies .Since they are usually seen in primary age, they leave an impact that remains with us throughout our long life.
For example
Lesson from movie up
Presented in beautiful 3D animation, Up tells a story that is both funny and tender, conveying a moral that our connection with others is what makes life meaningful. Several moments of peril may be frightening for young children, and the movie deals with the reality of death and loss.
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depicted Violence during Saturday morning cartoons than during prime-time television hours children do imitate their heroes, hoping to emulate them and be able to stand as strong and powerful as they do. Parents see the television as a babysitter of sorts and let their children sit in front of it, absorbing everything they see mindlessly, while the parents do chores or work they must complete that involves not having their children distract them. This is when children receive the full force of the violence in television; studies conducted have shown that children either imitate their heroes or let the actions of these heroes influence their later, more aggressive actions.
Examples
The best-known examples of such violence are in the short Warner Brothers "Looney Tunes" cartoons, those that star Bugs Bunny, Daffy Duck, and Wile E. Coyote. These cartoons generally portray Bugs Bunny as the protagonist, finding quick and witty ways to save himself from the antagonistic Elmer Fudd, Yosemite Sam, or whoever the villain of the moment may be; Daffy Duck has been seen as a competitor with Bugs and usually ends up on the losing side. If Wile E. Coyote is involved, the Road Runner always manages to best him, evading capture and leading to Wile's numerous falls off cliffs or collisions with them, due in part to the Road Runner and to Wile's faulty Acme products. These ways often involve violence, mainly guns or running off cliffs, but the violence is portrayed in a humorous manner that disguises its malignance, thus fooling children: "The cartoon "Zipping Along," featuring Warner Brothers' Wile E. Coyote and Roadrunner, is a cartoon which contains 22 separate acts of violence, and is a mere 7 minutes in length.
According to researches
Every film contained at least one violent incident (average duration 9.5 minutes), with 49% showing a character celebrating a violent act. Only 32% of the films had at least one non-violent message. The intention to cause bodily injury was present in 81% of the films, and 62% of the films (46) showed an injury. Of these 46 films, only 22% showed treatment of the injury, and 24% showed someone experiencing pain. In all the films, there were 125 total injuries, and 40% of them happened to "bad" characters. Sixty-two of the injuries were fatal, and 71% of the fatalities happened to "bad" characters (fatalities were significantly more likely to happen to a "bad" than "good"/"neutral" character - odds ratio, 23.2; 95% confidence interval 8.5-63.4). In 72 movies, at least one "good" character participated in a violent incident. Unilateral violence by "good" characters was mostly "light" (72%), whereas unilateral violence by "bad" characters was mostly "dark" (51%). 100% of the films had at least one violent act where the body was the weapon, and 99% had at least one violent act with a weapon. 14 | P a g e
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