Stop motion  

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Stop motion (or frame-by-frame) animation is a general term for an animation technique which makes a physically manipulated object appear to move. The object is moved by very small amounts between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence. Clay figures are often used in stop motion animations, known as claymation, for their ease of repositioning.

History

Stop motion animation is almost as old as film-making itself. Of the forms already mentioned, object animation is the oldest, then direct manipulation animation, followed (roughly) by sequential drawings on multiple pages, which quickly evolved into cel animation, with clay animation, pixilation, puppet animation, and time-lapse being developed concurrently next. The first instance of the stop motion technique can be credited to Albert E. Smith and J. Stuart Blackton for The Humpty Dumpty Circus (1898), in which a toy circus of acrobats and animals comes to life. In 1902, the film, Fun in a Bakery Shop used clay for a stop-motion "lightning sculpting" sequence. French trick film mistro Georges Méliès used it to produce moving title-card letters for one of his short films, but never exploited the process for any of his other films. The Haunted Hotel (1907) is another stop motion film by James Stuart Blackton, and was a resounding success when released. Segundo de Chomón (1871-1929), from Spain, released El Hotel eléctrico later that same year, and used similar techniques as the Blackton film. In 1908, A Sculptor's Welsh Rarebit Nightmare was released, as was The Sculptor's Nightmare, a film by Billy Bitzer. French animator Emil Cole impressed audiences with his object animation tour-de-force, The Automatic Moving Company in 1910.

One of the earliest clay animation films was Modelling Extraordinary, which dazzled audiences in 1912. December 1916, brought the first of Willie Hopkin's 54 episodes of "Miracles in Mud" to the big screen. Also in December 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion. She would release her first film in 1917, Romeo and Juliet.

The great European stop motion pioneer was Ladyslaw Starewicz (1892-1965), who animated The Beautiful Lukanida (1910), The Battle of the Stag Beetles (1910), The Ant and the Grasshopper (1911), Voyage to the Moon (1913), On the Warsaw Highway (1916), Frogland (1922), The Magic Clock (1926), The Mascot, (aka, The Devil's Ball) (1934), In the Land of the Vampires (1935), and the feature film The Tale of the Fox (1937), to name but a few of his over fifty animated films.

Starewicz was the first filmmaker to use stop-action animation and puppets to tell consistently coherent stories. He began by producing insect documentaries which, in turn, led to experiments with the stop-action animation of insects and beetles. Initially he wired the legs to the insects' bodies, but he improved this substantially in the ensuing years by creating leather and felt-covered puppets with technically advanced ball & socket armatures. One of his innovations was the use of motion blur which he achieved, most likely, by the use of hidden wires, which, because they were moving, didn't register on film during long exposures of each frame.

His techniques took hold among the avant-garde in Eastern Europe in the 1920s and '30s, growing out of a strong cultural tradition of puppetry. One such artist was Russian/Ukrainian filmmaker Alexander Ptushko, whose first major work, The New Gulliver (Template:Lang-ru, Novyy Gullivyer) (1935), was the first feature film to use 3-D stop motion animation (Lotte Reiniger's feature film The Adventures of Prince Achmed had used 2-D stop motion in 1926) and the first to combine stop-motion with live action footage. Ptushko built 1,500 separate puppets for this remarkable film. Each of the puppets had a detachable head, which made them capable of a wide range of expressions and personality.

Other notable artists include the influential Czech animator Jiří Trnka. The aesthetic tradition of the puppet film was continued by Bretislav Pojar, Kihachiro Kawamoto, Ivo Caprino, Jan Švankmajer, Jiri Barta, Stephen and Timothy Quay (Brothers Quay), the Bolex Brothers, and Galina Beda.

A notable stop motion object animator was Germany's Oskar Fischinger who animated anything he could get his hands on in a series of impressive short abstract art films during the 20s and 30s. The best example is his 1934 film, Composition in Blue. Fischinger was hired by Disney to animate the "rolling hills" footage used in the opening "Toccata & Fugue" sequence of Fantasia (1940).

The great pioneer of American stop motion was Willis O'Brien (1886-1963). In 1914, O'Brien began animating a series of short subjects set in prehistoric times. He animated his early creations by covering wooden armatures with clay, a technique he further perfected by using ball & socket armatures covered with foam, foam latex, animal hair and fur. Birth of a Flivver (1915), Morpheus Mike (1915), The Dinosaur and the Missing Link: A Prehistoric Tragedy (1916), R.F.D. 10,000 B.C.: A Mannikin Comedy (1917/18), The Ghost of Slumber Mountain (1919), The Lost World (1925), King Kong (1933), The Son of Kong (1933), and, with the assistance of a young Ray Harryhausen, Mighty Joe Young (1949), yet these were but a few of the many films he animated. O'Brien's Nippy's Nightmare (1916) was first film to combine live actors with stop-motion characters. His partnership with the great Mexican-American model makers/craftsmen/special effects artists/background painters/set builders, Marcel Delgado, Victor Delgado and Mario Larrinaga, led to some of the most memorable and remarkable stop-motion moments in film history.

O'Brien's imaginative use of stop-motion, and his ambitious and inventive filmmaking, has inspired generations of film greats such as Ray Harryhausen, George Lucas, Steven Spielberg, Peter Jackson, Jim Danforth, Art Clokey, Pete Kleinow, Tim Burton, David Allen, Phil Tippett and Will Vinton, as well as thousands of lesser known animators, both professional and amateur. Many leading Science-Fiction and Fantasy writers also credit him as a great source of inspiration.

One of the more idiosyncratic early users of stop-motion techniques was the American comedian and cartoonist Charles Bowers who employed stop-motion techniques (which he called the "Bowers Process") in his series of silent short comedies in the 1920s and early 1930s. In his 1926 film Now You Tell One, he skillfully uses stop-motion to create such effects as a straw hat growing on a man's head, cats growing out of a plant, and a mouse firing a gun. [1]

Puppeteer Lou Bunin created one of the first stop motion puppets using wire armatures and his own rubber formula. The short, satiric film about World War II entitled Bury the Axis debuted in the 1939 New York World's Fair. Bunin went on to produce a feature-length film version of Alice in Wonderland with a live-action Alice and stop-motion puppets portraying all the rest of the characters. Bunin was blacklisted in the 1950s but still managed to create numerous TV commercials using stop motion techniques, as well as a number of children's short films.

Willis O'Brien's student Ray Harryhausen made many movies using a more elaborate version of puppet animation called model animation, first pioneered by O'Brien, mainly for his feature length films, the difference being that model animation strives to be "photo-realistic" enough to be able to be combined with live action elements to create a final fantasy sequence that allows the audience to suspend their disbelief that they are watching animation elements. Example of his model animation techniques; most famously, are the seven-skeleton sequence from Jason and the Argonauts (1963). But aside from the more "disguised" stop motion efforts of O'Brien and Harryhausen, America and Britain were slower to embrace the stop-motion film, and so its use mainly grew out of other locations and sources.

One acclaimed European puppet animation producer to break out in America was Hungarian animator George Pal, who, partially working in The Netherlands, produced a series of films in Europe during the 30s before coming to Hollywood to create more shorts in the 40s, now called Puppetoons under the Paramount banner, seven of which were nominated for Academy Awards for best animated film. In the late 40s, Pal evolved into feature film production, incorporating puppet animation into a live action setting in such films as The Great Rupert (1949), tom thumb (film) (1958), and The Wonderful World of the Brothers Grimm (1963). Pal used model-animation (animated by Jim Danforth) in two other feature films, The Time Machine (1960) and 7 Faces of Dr. Lao (1964), the latter nominated for a Special Effects Oscar, and the former winning the EFX Oscar award. Pal's work is documented in two feature films by Arnold Lebovitt, released in the mid-80s, The Puppetoon Movie and The Fantastic World of George Pal which are currently available on DVD. More of Danforth's skilled model animation can be seen in Jack the Giant Killer (1962), the ending fire ladder sequence for It's a Mad Mad Mad Mad World (1963), "The Zanti Misfits" and "Counterweight" episodes of the original The Outer Limits TV series (1963), and, with equally prolific model animator David Allen, in Equinox (also titled "The Beast") (1967, 1970), Flesh Gordon (1974), and the prehistoric comedy Caveman (1981).

Dominating children's TV stop-motion programming for three decades in America was Art Clokey's Gumby series, which lasted into the 70s, and spawned a feature film, Gumby I in 1995. Using both freeform and character clay animation, the series also used much object animation as Gumby and his clay pals interacted with various toys. Clokey started his adventures in clay with a 1953 freeform clay short film called Gumbasia (1953) which shortly thereafter propelled him into his more structured Gumby TV series.

The Walt Disney studio dabbled with puppet-object animation in 1959 with the release of a 21-minute experimental short, Noah's Ark, nominated for an animated film Oscar for that year. Disney didn't exploit the technique until their association with Tim Burton, starting with Burton's short film Vincent in 1982.

Although not technically animation, American children's television in the 1950s had often used string-puppets (also called marionettes, an entirely live-action process which some people have mistaken for a form of animation), such as those in Howdy Doody and various children's science fiction series such as Supercar and Fireball XL5 in the early and mid 60s, spoofed in the 2004 feature film, Team America: World Police. In Britain the glove-puppet had been part of popular culture from the days of Punch and Judy, with American glove puppet counterparts featured in Bob Clampett's late 1940s & 50s TV show of Time for Beany in the Los Angeles area (an early multiple Emmy winner, which he developed into the animated cartoon series Beany and Cecil in the early 60s), and Shari Lewis' NBC hand puppet shows featuring "Hush Puppy", "Charley Horse" and most famously "Lamb Chop" in the early 60s, all influences on the later highly developed and refined puppet work of Jim Henson.

In November 1959 the first episode of Sandmännchen was shown on East German television, a children's show that had Cold War propaganda as its primary function. New episodes are still being produced in Germany, making it one of the longest running animated series in the world. However, the show's purpose today has changed to pure entertainment.

In the 1960s, the French animator Serge Danot created the well-known The Magic Roundabout (from 1965) which played for many years on the BBC. Another French/Polish stop-motion animated series was Colargol (Barnaby the Bear in the UK, Jeremy in Canada), by Olga Pouchine and Tadeusz Wilkosz.

A British TV-series The Clangers (1969) became popular on television. The British artists Brian Cosgrove and Mark Hall (Cosgrove Hall Films) produced a full-length film The Wind in the Willows (1983) and later a multi-season TV-series The Wind in the Willows based on Kenneth Grahame's classic children's book of the same title. They also produced a documentary of their production techniques, Making Frog and Toad.

Disney once again experimented with several stop-motion techniques by hiring independent animator-director Mike Jittlov to do the first stop motion animation of Mickey Mouse toys ever produced for a short sequence called Mouse Mania, part of a TV special commemorating Mickey Mouse's 50th Anniversary called Mickey's 50th in 1978.

Jittlov again produced some impressive multi-technique stop-motion animation a year later for a 1979 Disney special promoting their release of the feature film The Black Hole. Titled Major Effects, Jittlov's work stood out as the best part of the special. Jittlov released his footage the following year to 16 mm film collectors as a short film titled The Wizard of Speed and Time, along with four of his other short multi-technique animated films, most of which eventually evolved into his own feature-length film of the same title. Effectively demonstrating almost all animation techniques, as well as how he produced them, the film was released to theaters in 1987 and to video in 1989.

Italian stop motion films include Quaq Quao (1978), by Francesco Misseri, which was stop-motion with origami, The Red and the Blue and the clay animation kitties Mio and Mao.

A stop-motion animated series of Tove Jansson's "The Moomins" (from 1979), often referred to as "The Fuzzy Felt Moomins", produced by Film Polski and Jupiter Films was also a European production, made in different countries like Poland and Austria.

In North America, Jules Bass produced a series of popular Christmas specials such as Rudolph the Red Nosed Reindeer and Frosty the Snowman (using 'Animagic', their trade name for their version of stop motion puppetry) (1964). The specials were animated in Japan by Japanese stop-motion pioneer Tadahito Mochinaga. Another clay-animated children's TV series Davey and Goliath, produced by Art Klokey, lasted from 1960 to 1977. Rankin/Bass also produced a puppet animation feature length film, Mad Monster Party in 1967 and combined puppet animation with live action in The Daydreamer, their feature film released in 1966.

A puppet animation feature-length film directed by Marc Paul Chinoy and based on the famous "Pogo" comic strip was produced in 1980. Titled I go Pogo, it was aired a few times on American cable channels but, sadly, was never released to video.

Although seemingly a natural marriage, stop-motion has very rarely been shot in stereoscopic 3D throughout film history. The first 3-D stop-motion short is In Tune With Tomorrow[2] (aka Motor Rhythm) (1939) by John Norling[3]. The second stereoscopic stop-motion release is The Adventures of Sam Space[4] (1955) by Paul Sprunck[5]. The third and latest stop-motion short in stereo 3-D is The Incredible Invasion of the 20,000 Giant Robots from Outer Space[6] (2000) by Elmer Kaan[7] & Alexander Lentjes[8][9][10]. This is also the first ever 3-D stereoscopic stop-motion & CGI short in the history of film. Allegedly, the very first all-stop-motion 3-D feature is scheduled for a 2008 release: Coraline[11] by Henry Selick, being produced out of Nike shoe founder Phil Knight's new "Leika" animation studio in Portland, Oregon, formerly Will Vinton's "Claymation" studio.