Survey to Animation- “Cartoons: 100 years of animation” Reading 5

Dating back to the mid 19th century in China (Quing dynasty), the wan brothers or more preferably as Wan Laming and Wan Guchan, were animators that living in times of war with the japanese. Due to the condition of China and all of its war fare, animation was not heavily focused on for entertainment, but as a resource of propaganda and motivational warfare. Their first animation, “Uproar in the Art Studio”, was what they got known for  when they were working at the Great Wall Film Company. The animation is currently lost and it ran from 10-12 minutes in black and white film. During war times this became a very heavy topic for them since most of their work ensembles back to warfare.

When the japanese invaded Shanghai, China of 13 August, 1937, filmmakers were all in hiding at Wuhan. These current events inspired many productions of film and animations like the Manifesto of the War of Resistance which incorporated some western animation like some of Fleischer’s themes. There animations always pre sieved as the chinese being the ultimate super humans able to do anything. This in fact gave a lot of hype during the late late 1930’s. In the animation ,Havoc in Heaven, it showed a monkey king trying to teach his students how to fight but doesn’t have the proper weapon to display the attack. He then takes heed to go out and see the dragon lord to ask for a new and stronger weapon. After the rejections of many weapons there was one last weapon the dragon king had but he warned the monkey king that this particular weapon was too heavy and to powerful. As the dragons guards gave the monkey king the weapon, he carried is with ease as if he were carrying a feather. This gave some inside that the chinese were these super human war machines able to lift and do almost anything.

After the war, Shanghai studio was closed and most filmmakers were sent to educational camps till 1972. Till that time, the studio was already at a great lead to a good amount of animations that explained about the aftermath of the war and seeing the future for one of the animations “One Hundred Flowers‘”.Most animations now consisted of old folk tales from the past and stories taken from shadow puppet shows which was how stories were originated.

Now during the 1940’s of Japan, they were undergoing reconstruction during and after there warfare with China. Most of the animations done back then had a familiar Walt Disney style but in a weird and creepy way, made it there own. What I mean by that was the familiarity in facial features within everyone even the animals, right down to the eyes to the ears. There animations told of praising war veterans and veterans that were out to war. Sometimes they would have veterans returning back home and telling there stories.

Animation in Latin America wasn’t as big as it was in America. Quirino Cristiani, is a animation director and cartoonist born and raised in Santa Giuletta, Italy, was the first man responsible for the first two animated feature films and one that first incorporated sound. He was the first person to create animation only with cardboard cutouts. After him there weren’t a lot of animators in Argentina working on big projects till Juan Olivia, who was a painter and comic strip artist born and raised in Barcelona of August 1910, went to Argentina in 1930 and was fascinated in Cristiani’s past work. He then tried to create animations of his own style and created some of the first animations with diversity in it. Most animations done in Latin America were based upon rebellious actions, and stories of their culture. During those time they soon began to produce their own form of propaganda in order to get the Latin Americans recruit for war. This was actually very affective since it showed a lot of well hidden subliminal messages and great imagery when they were going to recruit.



About crisnegroni

I have lived in Brooklyn, New York my whole life and I currently live with my sister and my mom in a apartment building in Williamsburg. My mom is from Puerto Rico and my father is from Italy. My mom works as an assistant principal at B-SMART in Bushwick, Brooklyn, New York as my father worked as an MTA transit for New York. During my years in highschool , my mother was well aware of my love of drawing. She encouraged me to enroll in a special art program in Manhattan, NY. I was accepted into the Sony Animation Project. It was there I learned about “stop-motion” animation. With a partner, we created two “short” animation videos. At the end of the six month program our work was screened at the Sony Wonder Theatre, where we received a certificate of character creation and cinematography. I attended the program a second time, created more work and received another certificate. After the films were spotlighted on YouTube and the certificates were hung on my wall, it was time to move on. In my Junior year of high school, I came across an application for a fifteen month fellowship with the “Ghetto Film School” also known as GFS. At first glance the application was intimidating and the curriculum seemed exhausting. Did I really want to go to school all summer, nine to five and even some weekends? It seemed like a lot of work. Each film student would receive a professional camera and would learn about directing, editing, writing scripts, lighting, sound, camera operating, and locations. Though there were over one hundred applicants, I got the call: I got in. I received two call back interviews and an orientation; later I was well on my way. After two weeks of class work, traveling all over New York City, visiting college classrooms in Columbia University, and taking trips to HBO and Google offices, each student was assigned final projects. We had to write a script, get it approved, hire real actors, secure a location, and direct the entire six minute short film. Only ten students would be chosen to have their movie screened at Lincoln Center. Guess who won a spot? I had to pinch my mother twice when she heard the news. Fall came, and I was still attending GFS on the weekends. I decided to accept an internship at ISCP- “Into the Studios” funded by the Joan Mitchell Foundation. Here I got to unleash a different kind of art, at a slower pace. I worked in the gallery with other students on painting, sculptures, different types of mediums, and learned the history of other artists. You would think attending programs and keeping my grades up would be impossible, but after the intensity of my summer, it felt like a piece of cake. My heart was in everything, nothing felt like work. In GFS I collaborated on an aired ESPN commercial as the cinematographer and actor. We screened and critiqued in many short films for the class and spoke with directors and guests lectures. By this time, our enormous class had shrunk down to under twenty students, and only five would be chosen to go work on a thesis project in Shanghai, China. After a successful pitch for a lighting director part, I won a coveted spot in the group as one of the five chosen! I was off to film in Shanghai this summer, what an honor! During the end of that week, all of the ISCP students had a gallery exhibit and I was told to bring my parents. As my teachers started talking about me, my mother and I found out that I had won a summer scholarship sponsored by the Joan Mitchell Foundation to go study in Napa Valley, California to the Oxbow Art Camp. I thought my mother was going to faint. As a boy born and raised in Brooklyn, New York this was a life changing experience, an artist dream. As I watched Mr. Jose Ortiz and my wonderful art teachers from the foundation explained to my mother that it was all expense paid and would not interfere with my China trip. All in the same summer, I felt like someone was going to wake me up out of my dream. As the summer came to an end, and I embark in my senior year, I leave many things behind as I look towards my future. I leave my fears, limitations, and my insecurities to dream….I’m in a new frame of mind. Going to Alfred State College is just another milestone I’m gonna have to over accomplish.
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