Animasophy : theoretical writings on the animated film by Ülo Pikkov ; [translated by Eva N̈aripea].

By Ülo Pikkov ; [translated by Eva N̈aripea].

Advent --
Defining animation --
Tracing the ancestry of the lively movie --
Animation (film) as verbal exchange --
On time within the lively movie ; Case learn: long past with the wind / Ülo Pikkov (2009) --
On constitution within the lively movie ; Case research: Little condo / Kristjan Holm (2009) --
On the credibility of lively characters ; Case research: Laika / Märt Kivi (2007) --
On realism within the lively movie ; Case learn: within the air / Martinus Daane Klemet (2009) --
On storytelling within the lively movie ; Case research: Dialogos / Ülo Pikkov (2008) --
On house within the lively movie ; Case research: Divers within the rain / Priit and Olga Pärn (2009) --
On characters within the lively movie ; Case examine: Crocodile / Kaspar Jancis (2009) --
On sound within the lively movie ; Case research: Kitchen dimensions / Priit gentle (2008) --
Milestones of animation. DVD: long past with the wind / Ülo Pikkov (Silmviburlane, 2009) --
Little apartment / Kristjan Holm (Estonian Academy of Arts, 2009) --
Laika / Märt Kivi (Nukufilm, 2007) --
In the air / Martinus Daane Klemet (Joonisfilm, 2009) --
Dialogos / Ülo Pikkov (Joonisfilm, 2008) --
Divers within the rain / Priit and Olga Pärn (Joonisfilm, 2009) --
Crocodile / Kaspar Jancis (Joonisfilm, 2009) --
Kitchen dimensions / Priit gentle (Joonisfilm, 2008).

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A wish to compare the given film with other works or with the author’s personality). Despite the fact that animation as an art form reached wider audiences and gained mass popularity only after the birth of cinema, many animated films criticize and mock the medium of film. ‘Like medieval comedy, the cartoon mocks itself, romping with its audience’ (Lindvall and Melton 2009: 63). Thus animation-makers have critically probed the limits of the film frame, the rigidity of the traditional time-line, the abstraction of synchronous sound, apparently drawing attention to the fact that animation is a much older and more expressive art form than live action cinema, although sharing the same basic format.

Perhaps the first animated stars of American animation were the characters of ‘The Newlyweds’, a series animated by Emile Cohl begin- 30 TRACING THE ANCESTRY OF THE ANIMATED FILM ning in January 1913 that was based on a well-known comic strip by George McManus. Other human-like characters of popular animated series, such as those in the ‘Mutt and Jeff ’ (Pathé Frères, beg. 1913) and ‘Colonel Heeza Liar’ (Bray, beg. 1913) series, also were derived from comic strips, as were many others ... [such as] Wrill, Tintin, the Smurfs, and Lucky Luke’ (Furniss 1998: 67).

Fantasmagorie, (1908) by the Frenchman Émile Cohl, was one of the first European animations. Without a clearly structured narrative, its main purpose was to present viewers with the surprise of hand-drawn characters in motion. Ladislas Starevich (born 61 ANIMASOPHY Władysław Starewicz), of Lithuanian descent, was one of the first to make narrative animations, as in The Cameraman’s Revenge (Mest’ kinematograficheskogo operatora, 1912). The authors of the documentary about Starevich’s life and work, The Bug Trainer (Vabzdžiǐ dresuotojas, 2008) show how Starevich used dead insects in his films, equipping them with new wire legs in order to move them according to his wishes.

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