Category:1910s animated short films
Pages in category "1910s animated short films"
The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes (learn more).
The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes (learn more).
1. Gertie the Dinosaur – Gertie the Dinosaur is a 1914 animated short film by American cartoonist and animator Winsor McCay. It is the earliest animated film to feature a dinosaur, McCay first used the film before live audiences as an interactive part of his vaudeville act, the frisky, childlike Gertie did tricks at the command of her master. McCays employer William Randolph Hearst later curtailed McCays vaudeville activities, so McCay added an introductory sequence to the film for its theatrical release. McCay abandoned a sequel, Gertie on Tour, after producing about a minute of footage, although Gertie is popularly thought to be the earliest animated film, McCay had earlier made Little Nemo and How a Mosquito Operates. The American J. Gertie was the first film to use techniques such as keyframes, registration marks, tracing paper, the Mutoscope action viewer. It influenced the next generation of such as the Fleischer brothers, Otto Messmer, Paul Terry. John Randolph Bray unsuccessfully tried to patent many of McCays animation techniques and is said to have been behind a plagiarized version of Gertie that appeared a year or two after the original. Gertie is the best preserved of McCays films—some of which have been lost or survive only in fragments—and has been preserved in the US National Film Registry. Winsor McCay had worked prolifically as a commercial artist and cartoonist by the time he started making comic strips such as Dream of the Rarebit Fiend. In 1906, McCay began performing on the circuit, doing chalk talks—performances in which he drew before live audiences. Inspired by the books his son brought home, McCay came to see the possibility of making moving pictures of his cartoons. He claimed that he was the first man in the world to make animated cartoons, though he was preceded by the American James Stuart Blackton, McCays first film starred his Little Nemo characters and debuted in movie theatres in 1911, he soon incorporated it into his vaudeville act. He followed it in 1912 with How a Mosquito Operates, in which a giant, McCay gave the mosquito a personality and balanced humor with the horror of the nightmare situation. McCay conferred with the American Historical Society in 1912, and announced plans for the presentation of pictures showing the great monsters that used to inhabit the earth and he spoke of the serious and educational work that the animation process could enable. McCay considered a number of names before settling on Gertie, his production notebooks used Jessie the Dinosaurus. in a sweet voice. He thought it was a name, but wanted it to be a girls name instead of a boys. Gertie the Dinosaur is the earliest animated film to feature a dinosaur and its star Gertie does tricks much like a trained elephant. She is animated in a naturalistic style unprecedented for the time, she breathes rhythmically, she shifts her weight as she moves, McCay imbued her with a personality—while friendly, she could be capricious, ignoring or rebelling against her masters commands
2. The Sinking of the Lusitania – The Sinking of the Lusitania is a silent animated short film by American cartoonist Winsor McCay. It is a work of propaganda re-creating the never-photographed 1915 sinking of the British liner RMS Lusitania, at twelve minutes it has been called the longest work of animation at the time of its release. The film is the earliest surviving animated documentary and serious, dramatic work of animation, in 1915 a German submarine torpedoed and sank the RMS Lusitania,128 Americans were among the 1,198 dead. In 1916, McCay rebelled against his employers stance and began work on the patriotic Sinking of the Lusitania on his own time with his own money, the film followed McCays earlier successes in animation, Little Nemo, How a Mosquito Operates, and Gertie the Dinosaur. McCay and his assistants spent twenty-two months making the film, the film opens with a live-action prologue in which McCay busies himself studying a picture of the Lusitania as a model for his film-in-progress. Intertitles boast of McCay as the originator and inventor of Animated Cartoons, McCay is shown working with a group of anonymous assistants on the first record of the sinking of the Lusitania. The liner passes the Statue of Liberty and leaves New York Harbor, after some time, a German submarine cuts through the waters and fires a torpedo at the Lusitania, which billows smoke that builds until it envelops the screen. Passengers scramble to lower lifeboats, some of which capsize in the confusion, the liner tilts from one side to the other and passengers are tossed into the ocean. A second blast rocks the Lusitania, which sinks slowly into the deep as more passengers fall off its edges, the liner vanishes from sight, and the film closes with a mother struggling to keep her baby above the waves. An intertitle declares, The man who fired the shot was decorated for it by the Kaiser, and yet they tell us not to hate the Hun. Winsor McCay produced prodigiously detailed and accurate drawings since early in life and he earned a living as a young man drawing portraits and posters in dime museums, and attracted large crowds with his ability to draw quickly in public. He began working as a newspaper illustrator full-time in 1898, and his greatest comic strip success was the childrens fantasy comic strip Little Nemo in Slumberland, which he began in 1905. In 1906, McCay began performing on the circuit, doing chalk talks—performances during which he drew in front of a live audience. Inspired by the books his son brought home, McCay said he came to see the possibility of making moving pictures of his cartoons. His first animated film, Little Nemo, was composed of four thousand drawings on rice paper and his next film, How a Mosquito Operates, naturalistically shows a giant mosquito draw blood from a sleeping man until it burst. McCay followed this with a film that became a part of his vaudeville shows, in Gertie the Dinosaur. The British liner RMS Lusitania briefly held the record for largest passenger ship upon its completion in 1906, the Germans employed submarines in the North Atlantic during World War I, and in April 1915 the German government issued a warning that it would target British civilian ships. The Lusitania was torpedoed on May 7,1915, during a voyage from New York,128 Americans were among the 1,198 who lost their lives
3. How a Mosquito Operates – How a Mosquito Operates is a silent animated film by American cartoonist Winsor McCay. The six-minute short depicts a giant mosquito tormenting a sleeping man, the film is one of the earliest works of animation, and its technical quality is considered far ahead of its contemporaries. It is also known under the titles The Story of a Mosquito and Winsor McCay, McCay had a reputation for his proficient drawing skills, best remembered in the elaborate cartooning of the childrens comic strip Little Nemo in Slumberland he began in 1905. He delved into the art of animation with the film Little Nemo. McCay gave the film a more coherent story and more developed characterization than in the Nemo film, with timing, motion. How a Mosquito Operates had a reception when McCay first showed it as part of his vaudeville act. He further developed the character animation he introduced in Mosquito with his best-known animated work, a man looks around apprehensively before entering his room. A giant mosquito with a top hat and briefcase flies in after him through a transom and it repeatedly feeds on the sleeping man, who tries in vain to shoo it away. The mosquito eventually drinks itself so full that it explodes, how a Mosquito Operates is one of the earliest examples of line-drawn animation. McCay used minimal backgrounds and capitalized on strengths of the medium, then in its infancy. No intertitles interrupt the silent visuals, rather than merely expanding like a balloon, as the mosquito drinks its abdomen fills consistent with its bodily structure in a naturalistic way. The heavier it becomes, the difficulty it has keeping its balance. In its excitement as it feeds, it does push-ups on the mans nose, the mosquito has a personality, egotistical, persistent, and calculating. It makes eye contact with the viewers and waves at them, McCay balances horror with humor, as when the mosquito finds itself so engorged with blood that it must lie down. Winsor McCay developed prodigiously accurate and detailed drawing skills early in life, as a young man, he earned a living drawing portraits and posters in dime museums, and attracted large crowds with his ability to draw quickly in public. McCay began working as a newspaper illustrator in 1898. His greatest comic-strip success was the childrens fantasy Little Nemo in Slumberland, McCay began performing on the vaudeville circuit the following year, doing chalk talks—performances in which he drew in front of a live audience. Inspired by flip books his son Robert brought home, McCay said he came to see the possibility of making moving pictures of his cartoons
4. Little Nemo (1911 film) – Little Nemo, also known as Winsor McCay, The Famous Cartoonist of the N. Y. Herald and His Moving Comics, is a 1911 silent animated film by American cartoonist Winsor McCay. One of the earliest animated films, it was McCays first and its expressive character animation distinguished the film from the experiments of earlier animators. Inspired by flip books his son home, McCay came to see the potential of the animated film medium. He claimed to be the first to make films, though James Stuart Blackton. The shorts four thousand drawings on paper were shot at Vitagraph Studios under Blacktons supervision. Most of the running time is made up of a live-action sequence in which McCay bets his colleagues that he can make drawings that move. He wins the bet with four minutes of animation in which the Little Nemo characters perform, interact, Little Nemo debuted in movie theaters on April 8,1911, and four days later McCay began using it as part of his vaudeville act. Its good reception motivated him to each of the animated frames of the originally black-and-white film. The films success led McCay to devote time to animation. He followed up Little Nemo with How a Mosquito Operates in 1912 and his film, Gertie the Dinosaur. Winsor McCay had worked prolifically as a commercial artist and cartoonist by the time he started making comic strips such as Dream of the Rarebit Fiend. In 1906, McCay began performing on the circuit, doing chalk talks—performances in which he drew before live audiences. Inspired by flip books his son Robert brought home, McCay came to see the possibility of making moving pictures of his cartoons, in 1900, Blackton produced The Enchanted Drawing, a trick film in which an artist interacts with a drawing on an easel. Blackton used chalk drawings in 1906 to animate the film Humorous Phases of Funny Faces, Cohls films, such as 1908s Fantasmagorie, were dreamlike nonnarrative pieces in which characters and scenes continually changed shape. Cohls films were first distributed in the United States in 1909, according to McCay biographer John Canemaker, McCay combined the interactive qualities of Blacktons films with the abstract, shapeshifting qualities of Cohls into his own films. In the films of all three, the artist interacts with the animation, considered McCays masterpiece, Little Nemo in Slumberland debuted in October 1905 as a full-page Sunday strip the New York Herald. Its child protagonist, whose appearance was based on McCays son Robert, had dreams that would be interrupted with his awakening in the last panel
5. Out of the Inkwell – Out of the Inkwell was a major animated series of the silent era produced by Max Fleischer from 1918 to 1929. The Rotoscope would project motion picture film through an opening in the easel, the image on the projected film was traced onto paper, advancing the film one frame at a time as each drawing would be made. Fleischers younger brother Dave Fleischer was working as a clown at Coney Island, Out of the Inkwell began at the Bray Studio as a monthly entry in The Bray Pictorgraph Screen Magazine produced for Paramount from 1918, and later for Goldwyn from 1920 to 1921. Huemer redesigned the clown for animation, which reduced the Fleischers dependency on the Rotoscope for fluid animation and he also defined the drawing style with his distinctive inking quality that the series was famous for. But it was the interaction of the action sequences with the artist/creator, Max Fleischer and his pen. Typically, the cartoons start out with live action showing Max drawing the characters on paper, the Out of the Inkwell series ran from 1918 to mid 1927, and was renamed The Inkwell Imps for Paramount, continuing until 1929. In all,62 Out of the Inkwell and 56 Inkwell Imps films were produced within 11 years, the Inkwell Imps series was replaced by the Talkartoons in 1929, and Koko was retired until 1931, appearing as a supporting character with Bimbo and Betty Boop. Kokos last theatrical appearance was in the Betty Boop cartoon, Ha-Ha-Ha, Koko had a brief cameo in his only color theatrical appearance in the Screen Song entry, Toys will be Toys. In 1950, Stuart Productions released a number of the Inkwell Studios Out of the Inkwell cartoons, in 1955, the Inkwell Imps, along with 2,500 pre-October 1950 Paramount shorts and cartoons were sold to television packagers, the majority acquired by U. M. In 1958, Max Fleischer reactivated his studio in a partnership with Hal Seeger, in the new color series, KoKo had a clown girlfriend named KoKette and a villain named Mean Moe. Larry Storch provided the voice for KoKo and all of the supporting characters, Experiment No.1 Experiment No.2 Experiment No