#emile cohl

[schlock-luster-video]

On February 3, 1984, Fantasmagorie was screened at the Goteborg Film Festival.

[finnleyalexanne]

Emile Cohl

Emile Cohl was born in 1857, his father was a rubber salesman. In 1863, when he was 6 years old, he was sent to the boarding school Institute Vaudron. This is where it was discovered he had a talent for illustration and was encouraged for it, however due to the Franco-Prussian War in 1870 his father had to shutdown his rubber factory. This led Cohl to be sent to a less expensive boarding school, Ecole Turgot, where he would attend marionette theaters and work as a poltical caricaturist. In 1878, he became an assisstant under Andre Gill, a famous french caricaturist, who would become Cohl's mentor and close friend. Cohl would become instantly famous when he would make cartoons insinuating that the then French President Patrice MacMahon was the reason the french lost the Battke of Sedan agasint Prussian forces. This led him to be fined and imprisoned for 10 days, on the 11th of October 1879. This skyrocketed Cohl's popularity.

In 1907, Cohl changed careers at the age of 50, becoming a scriptwriter for the film company Gaumont. He was inspired by John Stuart Blackton, who had already made several animated comedies, and studied his work in order to make his own animated films. Cohl deviated from Blackton's methods, while Blackton would draw with a chalkboard and chalk, Cohl drew each frame individually on hundreds of pieces of paper. This would make Cohl's method far closer to modern animation methods compared to Blackton's. In 1908, Cohl made his first animated movie "Fantasmasgorie" and it is considered the first genuine animated movie. It's success paved Cohl's way into making an abundance of animated films for various studios,even travelling to America for work.

[schizografia]

Emile cohl

[thedevils1971]

affairs of the heart (1909) dir. émile cohl

[rufinoniku]

I passed my final exam at Émile Cohl (France) and this is the work I had to do 🙌 (animation specialty)

[lattealau]

Un alphabet assez terrifiant

[animatedshortoftheday]

Ladies & Locks (2021) [5 min] by Guillaume Deneuve | France

[blogarteplus]

Desde Blog Orviton Animaciones: Proyectos de graduación en animación de EEC 2022.

[ Acceder ]

[chouchen]

Hey there :D

So I have been researching some entertainment art schools and I'm currently making a small list of the ones I'm the most interested in going to. I have the conditions to move out of the country for that so I'm considering art schools from all over the world (also cause my country only has traditional art schools and that's not what I'm looking for 😭😭)

So I'd like to ask if you have any specific recommendations for entertainment art schools? I saw some of your art school posts and I was really amazed by it :oo You don't have to name the college you are currently in if it makes u uncomfortable, also because I wanna respect your privacy. But I'd like to know if you have any recommendations of nice entertainment art schools you considered going to before choosing your current one if you can!

hi !

i can vouch for :

Les Goblins in Paris (they do video game, animation, web design etc) it's expensive (around 9k per year) but it has the best reputation and they do some amazing stuff (please check out their youtube channel!)

Emile Cohl in Lyon (animation, video games and illustration) still expensive (9k per year) it's reputation is questionable and there's a student classment that gives off hunger games vibe haha but if you want to do illustration it's a good school to learn

Most school with DN MADE (art diploma) are the safer and cheap choice since you have a certified diploma and most likely a free 3 years of formation but it's hard to get in

i really want to vouch for my school but i rather not expose my city and all aaa

please note that unless you're going to Les Goblins you're very most likely to not get a job right away unless your portfolio is amazing, so if you go to a private know that you will be in debt for a little while

[flappy-tambourine]

Clowns in film

Pauvre Pierrot (1892) pauvre pierrot is some of the oldest captured clownery we have. Also one of the oldest animated films. It consists of 500 individual paintings and is considered the oldest surviving animated film. It was released in 1892 by Charles-Émile Reynaud. It is very interesting to see the amount of clowns in early animations.

le clown et ses chiens (1892) was also made by Emile Reynaud features a clown and his dogs doing tricks such as jumping through a hoop, walking on a ball, and jumping over a wand. Sadly this film has been completely lost. Many of Émile Reynaud films were thrown into the Siene when he went through a bout of depression after he lost most of his audience.

Fantasmagorie (1908) which is often considered the first traditional animated film and features what I believe to be a circus clown. Directed by Émile Cohl this film is only 2 minutes long and demonstrates the reality altering power that early clowns had.

Little Nemo (1911) by Winsor McCay is one of the first animats done by an American his animation feature a hobo clown and his companion. His companion is an extremely racist depiction of a black person and he called them “imps” this kind of thing is not uncommon when looking back at old animations. Even steam boat willie has depictions very similar. It is sad and disgusting that some of first animations in the US used people of color to further their jokes and paint their humor.

Koko the clown (1918) this character was created by Max Fleischer. Koko a pierrot was the protagonist of Out of the Inkwell. This series ran from 1918 to 1929.

[leebird-simmer]

Intro to Film Studies, Ch. 10

per John Halas, animation’s key characteristics are:

symbolization of objects and human beings

picturing the invisible (sound waves, magnetism, radar, etc)

penetration (showing interior workings of the body or of a machine; showing complex inner states, like dreams or memories or fantasies)

selection, exaggeration, and transformation

showing the past and predicting the future

controlling speed and time

as early as 70 BC, there is evidence of a mechanism that projected hand-drawn moving images onto a screen, described by Lucretius in De Rerum Natura.

16th century: erotic flipbooks in Europe

1825: Peter Mark Roget’s ‘persistence of vision’ theory, explaining how human beings perceive movement (later debunked by neuroscience, but a very reasonable theory at the time)

1831: phenakistoscope developed, made up of two rotating discs which appeared to make an image move

1861: Kinematoscope developed; employed a series of sequential photographs mounted on a wheel and rotated.

1877: praxinoscope pioneered by Emile Reynaud. A strip of images were mounted in a revolving drum and reflected in mirrors, a model later revised and renamed theatre optique.

1890s: comic strips become popular in print media. This is important because comics provided some of the initial vocabulary for cartoons (characters continuing from one episode to the next, sequential narratives, visual jokes, speech ‘bubbles’)

Proto-animation: early live-action cinema demonstrated certain techniques which preceded their conscious use as a method in creating animation. This is largely in regard to stop-motion, mixed media and the use of dissolves to create the illusion of metamorphosis in early ‘trick’ films.

Incoherent cinema: influenced by the ‘Incoherents’ (artists working between 1883-1891), a movement principally led by French caricaturist Emile Cohl, this kind of animation was often surreal, anarchistic, and playful, relating seemingly unrelated forms and events in an often irrational and spontaneous fashion. Lines tumble into shapes and figures in temporary scenarios before evolving into other images.

Animated documentary: In recent years, there has been an exponential rise in the production of animated documentary. This has essentially been characterized by the fusion of documentary tropes (non-fiction subject matter, participant interviews and analysis, use of statistical and archival evidence) and animation, resulting in a reclamation of what might be termed ‘naïve histories’ in the spirit of offering alternative perspectives on the dominant grand narratives of contemporary social, cultural, and national existence.

Character animation: Many cartoons and more sophisticated adult animated films (Japanese anime, for example) are still dominated by ‘character’ or ‘personality’ animation, which prioritizes exaggerated and sometimes caricatured expressions of human traits in order to direct attention to the detail of gesture and the range of human emotion and experience. This kind of animation is related to identifiable aspects of the real world and does not readily correspond with more abstract uses of the animated medium.

Anthropomorphism: The tendency in animation to endow creatures, objects and environments with human attributes, abilities and qualities. This can redefine or merely draw attention to characteristics which are taken for granted in live action representations of these things, and literally create original ‘worlds’, which nevertheless have a high degree of familiarity and identification. {note: Bojack Horseman does an incredible job with this; the eating habits, gait, posture, mannerisms, etc. of the background characters add so much texture!}

Walt Disney remains synonymous with animation because of his radical technical & aesthetic innovations between 1928-1942, sometimes referred to as the ‘Golden Era’ of cartoon animation.

1. Walt Disney Productions founded in 1923

2. Disney premiered first synchronized sound cartoon in 1928: Steamboat Willie

3. Disney introduced Technicolor to cartoons in 1932 with Flowers and Trees (which later won an Oscar)

4. Ub Iwerks (Disney’s first and most influential animator) developed the multi-plane camera, which achieves the illusion of perspective by having the relevant image painted on a series of moveable panes of glass placed directly behind each other. Elements of the image can be painted in the foreground, other elements in the mid-spaces, and other elements in the receding background.

5. Disney releases the first full-length, Technicolor, sound-synchronized, animated cartoon feature: Snow White and the Seven Dwarfs (1937)

Deconstruction: All media ‘texts’ are constructed. To understand all the components within each construction, it’s necessary to deconstruct the text and analyze all its elements. For example, the cartoon is made up of a number of specific aspects which define it as a unique cinematic practice (i.e. its frame-by-frame construction; its modes of representation and so on).

Synecdoche: The idea that a ‘part’ of a person, an object, a machine, may be used to represent the ‘whole’, and work as an emotive or suggestive shorthand to the viewer, who invests the ‘part’ with symbolic associations.

Iconic: The dominant signs that signify a particular person or object (Chaplin’s bowler hat, mustache, and cane; Daffy Duck’s upturned beak and lisping voice)

Ideology: a dominant set of ideas and values which inform any one society or culture, which are imbued in its social behavior and representative texts at a level that is not necessarily obvious or conscious. An ideological stance is normally politicized and historically determined.

Metamorphosis: The ability for a figure, object, shape or form to relinquish its seemingly fixed properties and mutate. This transformation is literally enacted within the animated film and acts as a model by which the process of change becomes part of the narrative of the film.

Condensation: The compression of a set of narrative or aesthetic agendas within a minimal structural framework. Essentially, achieving the maximum amount of suggested information and implication from the minimum amount of imagery used.

Squash & stretch: Many cartoon characters are constructed in a way that resembles a set of malleable and attached circles which may be elongated or compressed to achieve an effect of dynamic movement. When animators ‘squash’ and ‘stretch’ these circles, they effectively create the physical space of the character and a particular design structure within the overall pattern of the film. Interestingly, early Disney shorts had characters based on ‘ropes’ rather than circles and this significantly changes the look of those films.

Reduced animation: Animation may be literally the movement of one line which, in operating through time and space, may take on characteristics which an audience may perceive as expressive and symbolic. This form of minimalism constitutes reduced animation, which takes as its premise ‘less is more.’ Literally an eye movement or the shift of a body posture becomes enough to connote a particular feeling or meaning.

[schlock-luster-video]

On August 17, 1980, Fantasmagorie premiered in Paris, France.

[shehan-mga2022mi5016]

1) 2D animation is born

Emile Cohl, the father of animation.

Scenes from ‘Fantasmagorie’ (1908)

‘Fantasmagorie’ (1908) by Emile Cohl.

Winsor Mccay, father of the animated cartoon.

'Little Nemo' (1911) by Winsor McCay.

Vitagraph production company (est. 1892)

evidence of animation from the Paleolithic era.

Thaumatrope - This was a disc that had images on both sides, and this disc was attached to a string. When pulled, the disc would spin thus making the images change and create the illusion of movement.

Zoetrope - from the Greek word that means 'wheel of life'. Actions are drawn on a strip of paper and placed in a cylindrical container with slits that we can view the movement from.

Flipbooks - movements drawn on a corner of each page and flipped to show movement.

Gertie the dinosaur, the first keyframe animated character.

[ao3feed--reylo]

Little is said about them (And I love them so much)

read it on the AO3 at https://ift.tt/VAZ07hu

by IsFinished

A place to keep my weirdest/quirkiest fiction or uncommon fandoms (some are very regular) but mostly it's about somewhat impocular stuff.

You know... I'm unique and deferential!

I will put the tagst and the warnings as the clarifications by corresponding chapter. Oh and don't forget that you can request, in my email or on my Tumblr, a Ship/fandom or other that is unblemished and I'll write it here :)

Words: 185, Chapters: 1/?, Language: English

Fandoms: Fright Night (2011), Frailty (2001), The Gentlemen (2019), Avatar (Cameron Movies), Banshee (TV), The Boys (TV 2019), White House Down (2013), Interview With the Vampire (Movie 1994), Star Wars - All Media Types, Star Wars Sequel Trilogy, The Dark Tower (2017), Deja Vu (2006)

Rating: Mature

Warnings: No Archive Warnings Apply

Categories: F/M, M/M

Characters: Jerry Dandrige, Lestat de Lioncourt, Jake Sully, Neytiri te Tskaha Mo'at'ite, Rey (Star Wars), Ben Solo | Kylo Ren, Mickey Pearson, Raymond Smith, Doug Carlin, Carroll Oerstadt, Emil Stenz, Billy Butcher, Lucas Hood, Raymond "Ray" Velcoro, Rustin "Rust" Cohle, Roland Deschain, Adam Meiks

Relationships: Jerry Dandrige/Lestat de Lioncourt, Jake Sully/Neytiri te Tskaha Mo'at'ite, Rey/Ben Solo | Kylo Ren, Mickey Pearson/Raymond Smith, Doug Carlin/Carroll Oerstadt, Emil Stenz/Martin Walker, Rustin "Rust" Cohle/Raymond "Ray" Velcoro, Lucas Hood/Billy Butcher, Roland Deschain/Adam Meiks

Additional Tags: Crossovers & Fandom Fusions, Alternate Universe - Canon Divergence, Not Canon Compliant, Alpha/Beta/Omega Dynamics

read it on the AO3 at https://ift.tt/VAZ07hu

[4me4you]

4me4you  features “FACING THE FUTURE”

Artist: JERÔME MASI

“Masi’s use of subtle abstraction evokes spiritual reflection, with compositions stripped to their core, inviting viewers to find meaning in the spaces between form and absence”.

4me4you recently had the opportunity to visit Stolen Space Gallery, where we experienced "Facing the Future," a captivating solo exhibition by the renowned French artist Jérôme Masi. 

Known for his unique minimalist approach, Masi masterfully transforms the mundane elements of everyday life into abstract compositions that invite profound reflection.

Masi, demonstrates his exceptional ability to distill complex concepts into elemental forms, using simplicity to explore deep, universal themes. His works, stripped to their core components, reflect a world in constant flux, placing viewers at the crossroads of past, present, and future. This introspective approach encourages the audience to reflect on their own collective journey and the uncertainties that lie ahead.

A defining feature of Masi's art is his portrayal of figures looking away, a deliberate technique that creates space for personal interpretation. This subtle ambiguity invites viewers to emotionally engage with the pieces, projecting their own narratives onto the scenes. Through this minimalist lens, Masi highlights the essence of the human experience, blending simplicity and complexity to reveal both the beauty and tension inherent in contemporary life.

Born in 1977 in France, and a graduate of the Emile Cohl School in Lyon, Masi has cultivated a style that combines clarity with poetic resonance. His bold use of colour fields and elegant silhouettes speaks to his background as a designer and illustrator, bringing precision and grace to each of his works. With exhibitions held in Paris, London, Geneva, Melbourne, and Hong Kong, Masi’s art continues to captivate audiences worldwide, offering a pause from the rapid pace of modern life.

"Facing the Future" is more than a minimalist exhibition—it’s an invitation to reconnect with the deeper rhythms of existence, where simplicity is imbued with profound meaning.

SEE MORE:

WEBSITE: STOLEN SPACE GALLERY

[animatedshortoftheday]

Chasseur de Prime (2022) [4 min] by Tom Bravi | #France