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[[File:Animhorse.gif|thumb|180px|An animated [[horse]].]]
{{short description|Method of creating moving pictures}}
{{redirect|Animate|other uses|Animate (disambiguation)}}
{{other uses|Animation (disambiguation)}}
{{Use dmy dates|date=January 2020}}


'''Animation''' is a way of making a [[movie]] from many still [[image]]s. The images are put together one after another, and then played at a fast [[speed]] to give the [[illusion]] of [[movement]].  
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| caption1 = The [[bouncing ball]] animation (below) consists of these six frames, repeated indefinitely.
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Animation is a relatively new art form, and though the concept of moving images has been a theme throughout ancient civilizations, it was not until late into the 19th century that experimental animation truly began. Today, the industry of animation is booming, making up a huge commercial enterprise.
'''Animation''' is a method in which [[image|figures]] are manipulated to appear as [[Motion picture|moving images]]. In [[traditional animation]], images are drawn or painted by hand on transparent [[cel|celluloid sheets]] to be photographed and exhibited on [[film]]. Today, most animations are made with [[computer-generated imagery]] (CGI). [[Computer animation]] can be very detailed [[Computer animation#Animation methods|3D animation]], while [[Traditional animation#Computers and traditional animation|2D computer animation]] (which may have the look of traditional animation) can be used for stylistic reasons, low bandwidth, or faster [[real-time rendering]]s. Other common animation methods apply a [[stop motion]] technique to two- and three-dimensional objects like [[cutout animation|paper cutouts]], [[puppet]]s, or [[Clay animation|clay figures]].


A person who makes animations is called an ''[[animator]].''
An '''animated cartoon''' is an animated film, usually a [[short film]], featuring an [[cartoon|exaggerated visual style]]. The style takes inspiration from [[comic strips]], often featuring [[anthropomorphic animal]]s, [[superhero]]es, or the adventures of human protagonists (either children or adults). Especially with animals that form a natural predator/prey relationship (e.g. cats and mice, coyotes and birds), the action often centers around [[cartoon violence|violent]] [[physical comedy|pratfalls]] such as falls, collisions, and explosions that would be lethal in real life.


There are three ways to animate:
The illusion of animation—as in motion pictures in general—has traditionally been attributed to [[persistence of vision]] and later to the [[phi phenomenon]] and/or [[beta movement]], but the exact neurological causes are still uncertain. The illusion of motion caused by a rapid succession of images that minimally differ from each other, with unnoticeable interruptions, is a [[stroboscopic effect]]. While [[animator]]s traditionally used to draw each part of the movements and changes of figures on transparent cels that could be moved over a separate background, computer animation is usually based on programming paths between [[key frame]]s to maneuver digitally created figures throughout a digitally created environment.


# [[Drawing|Draw]] each frame
[[Analog device|Analog]] mechanical animation media that rely on the rapid display of sequential images include the [[phenakistiscope|phénakisticope]], [[zoetrope]], [[flip book]], [[praxinoscope]], and film. [[Television]] and [[video]] are popular electronic animation media that originally were analog and now operate [[digital media|digitally]]. For display on computers, technology such as the [[animated GIF]] and [[Flash animation]] were developed.
# Use [[stop-motion]]: make a [[Scale model|model]] scene and change it to create a new image (frame)
# Make [[computer graphics]][[File:Blender3D CircularWaveAnim.gif|thumb|330px|This is a computer animation of circular [[wave]]s made by an underwater [[explosion]].|alt=Many of these images are called "GIF's" (pronounced Jif)]]


== Overview ==
In addition to [[short films]], [[feature films]], [[Television show|television series]], animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in [[video game]]s, [[motion graphics]], [[user interface]]s, and [[visual effects]].{{sfn|Buchan|2013}}
[[File:Joy & Heron - Animated CGI Spot by Passion Pictures.webm|thumb|Joy & Heron - Animated CGI Spot by Passion Pictures]]
Because it is expensive to make, most animation comes from [[professional]] [[company|companies]]. However, [[independent movie|independent]] animators have existed since the [[1950s]] in America, with many of those people entering the professional industry. In Europe, the independent movement has existed since the 1910s, with animators like pre-revolutionary [[Russia]]'s [[Ladislas Starevich]] and Germany's [[Lotte Reiniger]].


Many people use a [[computer animation]] program called [[Adobe Flash]] to create animations.  Flash uses a combination of drawing and computer graphics to make animations.  Many animations on the [[internet]] are made in Flash.  Most animators on the internet do not work for professional companies.
The physical movement of image parts through simple mechanics—for instance moving images in [[magic lantern]] shows—can also be considered animation. The mechanical manipulation of three-dimensional puppets and objects to emulate living beings has a very long history in [[automaton|automata]]. Electronic automata were popularized by [[Disney]] as [[animatronics]].{{TOC limit|3}}


Many [[television]] shows, especially those made for children, use limited animation. Companies such as [[UPA]] and [[Hanna-Barbera Productions]] do this. Simple, limited movement makes the images easier to draw, which allows quicker and cheaper [[film production|production]] of animation.
==Etymology==
The word "animation" stems from the Latin "animātiōn", stem of "animātiō", meaning "a bestowing of life".<ref>{{Cite web | url=http://www.dictionary.com/browse/animation | title=The definition of animation on dictionary.com}}</ref> The primary meaning of the English word is "liveliness" and has been in use much longer than the meaning of "moving image medium".


== Famous names in the business ==
==History<!--'Animated cartoon' redirects here-->==
{{div col|cols=4|colwidth=}}
{{main|History of animation}}
* [[Tex Avery]]
* [[Ralph Bakshi]]
* [[Joseph Barbera]]
* [[Brad Bird]]
* [[Seth McFarlane]]
* [[Don Bluth]]
* [[Sylvain Chomet]]
* [[Gabor Csupo]]
* [[Stephen Hillenburg]]
* [[Gene Deitch]]
* [[Walt Disney]]
* [[Adam Elliot]]
* [[Max Fleischer]]
* [[Friz Freleng]]
* [[Matt Groening]]
* [[Yoram Gross]]
* [[William Hanna]]
* [[Ray Harryhausen]]
* [[Ub Iwerks]]
* [[Henry Selick]]
* [[Chuck Jones]]
* [[Mike Judge]]
* [[Glen Keane]]
* [[Arlene Klasky]]
* [[Walter Lantz]]
* [[John Lasseter]]
* [[Winsor McCay]]
* [[Norman McLaren]]
* [[Hayao Miyazaki]]
* [[Yuriy Norshteyn]]
* [[Katsuhiro Otomo]]
* [[Nick Park]]
* [[Trey Parker]]
* [[Bill Plympton]]
* [[Matt Stone]]
* [[Will Vinton]]
* [[Bob Clampett]]
* [[Richard Williams]]


{{div col end}}
===Before cinematography===
[[File:Prof. Stampfer's Stroboscopische Scheibe No. X.gif|thumb|Nr. 10 in the reworked second series of Stampfer's stroboscopic discs published by Trentsensky & Vieweg in 1833.]]


== Famous animation [[studio]]s ==
Hundreds of years before the introduction of true animation, people all over the world enjoyed shows with moving figures that were created and manipulated manually in [[puppetry]], [[automaton|automata]], [[shadow play]], and the [[magic lantern]]. The multi-media [[phantasmagoria]] shows that were very popular in European theatres from the late 18th century through the first half of the 19th century, featured lifelike projections of moving ghosts and other frightful imagery in motion.
=== United States ===
* [[DePatie-Freleng Enterprises]]
* [[DreamWorks SKG]]
*[[Nickelodeon Movies]]
* [[Film Roman]]
* [[Filmation]]
* [[Hanna-Barbera]] (now [[Cartoon Network]] Studios)
*[[Sony Pictures Animation]]
* [[Klasky Csupo]]
* [[MGM]]
*[[Reel FX Creative Studios]]
*[[List of Upcoming Warner Bros. Pictures Films]]
* [[Pixar]]
*[[List of Fuzzy Door Productions Films]]
*[[Blue Sky Studios]]
*[[Illumination Entertainment]]
* [[UPA]]
* [[Walt Disney Pictures]]
* [[Warner Bros.]]
*[[Warner Animation Group]]


=== Canada ===
[[File:Lanature1882 praxinoscope projection reynaud.png|thumb|A projecting [[praxinoscope]], from 1882, here shown superimposing an animated figure on a separately projected background scene]]
* [[Atkinson Film-Arts]]
In 1833, the [[stroboscope|stroboscopic]] disc (better known as the [[phenakistiscope|phénakisticope]]) introduced the principle of modern animation with sequential images that were shown one by one in quick succession to form an optical illusion of motion pictures. Series of sequential images had occasionally been made over thousands of years, but the stroboscopic disc provided the first method to represent such images in fluent motion and for the first time had artists creating series with a proper systematic breakdown of movements. The stroboscopic animation principle was also applied in the [[zoetrope]] (1866), the [[flip book]] (1868) and the [[praxinoscope]] (1877). A typical 19th-century animation contained about 12 images that were displayed as a continuous loop by spinning a device manually. The flip book often contained more pictures and had a beginning and end, but its animation would not last longer than a few seconds. The first to create much longer sequences seems to have been [[Charles-Émile Reynaud]], who between 1892 and 1900 had much success with his 10- to 15-minute-long ''[[Théâtre Optique|Pantomimes Lumineuses]]''.
* [[Cinar]] (now [[Cookie Jar Entertainment]])
* [[CinéGroupe]]
* [[National Film Board of Canada]]
* [[Nelvana]]


=== Europe ===
===Silent era===
* [[Aardman Animations]] ([[United Kingdom]])
When [[cinematography]] eventually broke through in 1895 after animated pictures had been known for decades, the wonder of the realistic details in the new medium was seen as its biggest accomplishment. Animation on film was not commercialized until a few years later by manufacturers of optical toys, with [[chromolithography]] film loops (often traced from live-action footage) for adapted toy magic lanterns intended for kids to use at home. It would take some more years before animation reached movie theaters.
* [[Arsyn Video Interactive]] ([[France]])
* [[Belvision]] ([[Belgium]])
* [[Centre for Animated Films Cacak]] ([[Serbia]])
* [[Chromosomos]] ([[Spain]])
* [[Cosgrove Hall Films]] ([[United Kingdom]])
* [[CreaSyn Studio]] ([[France]])
* [[DIC]] ([[France]])
* [[Ellipse Programme]] ([[France]])
* [[France Animation]] ([[France]])
* [[Grand Slamm Children's Films]] ([[United Kingdom]])
* [[kaViArt]] ([[France]])
* [[MacGuff]] ([[France]])
* [[Pannónia Filmstúdió]] ([[Hungary]])
* [[Red 3ye Productions]] ([[France]])
* [[Soyuzmultfilm]] ([[Russia]])
* [[Sullivan Bluth Studios]] ([[Ireland]])
* [[Synthĕsis Animation Studio]] ([[France]])
* [[Zagreb Film]] ([[Croatia]])


=== Asia ===
After earlier experiments by movie pioneers [[J. Stuart Blackton]], [[Arthur Melbourne-Cooper]], [[Segundo de Chomón]], and [[Edwin S. Porter]] (among others), Blackton's ''The Haunted Hotel'' (1907) was the first huge [[stop motion]] success, baffling audiences by showing objects that apparently moved by themselves in full photographic detail, without signs of any known stage trick.
==== Japan ====
* [[Bandai Visual]]
* [[BONES]]
* [[GAINAX]]
* [[Gonzo (studio)|Gonzo]]
* [[Kyoto Animation]]
* [[Madhouse Studios]]
* [[Production I.G.]]
* [[Pierrot (studio)|Pierrot]]
* [[Studio Ghibli]]
* [[Sunrise]]
* [[Tatsunoko Productions]]
* [[Toei]]


==== China ====
[[File:Fantasmagorie (Cohl).GIF|thumb|''[[Fantasmagorie (1908 film)|Fantasmagorie]]'' (1908) by [[Émile Cohl]]]]
* [[Beijing Xie Art]] (mainland)
[[Émile Cohl]]'s ''[[Fantasmagorie (1908 film)|Fantasmagorie]]'' (1908) is the oldest known example of what became known as [[traditional animation|traditional (hand-drawn) animation]]. Other great artistic and very influential short films were created by [[Ladislas Starevich]] with his puppet animations since 1910 and by [[Winsor McCay]] with detailed drawn animation in films such as ''[[Little Nemo (1911 film)|Little Nemo]]'' (1911) and ''[[Gertie the Dinosaur]]'' (1914).
* [[Colorland]] ([[Hong Kong]])
* [[Wang Film Productions]] ([[Taiwan]])


==== Philippines ====
During the 1910s, the production of animated "[[cartoons]]" became an industry in the US.{{sfn|Solomon|1989|p=28}} Successful producer [[John Randolph Bray]] and animator [[Earl Hurd]], patented the [[cel animation]] process that dominated the animation industry for the rest of the century.{{sfn|Solomon|1989|p=24}}{{sfn|Solomon|1989|p=34}} [[Felix the Cat]], who debuted in 1919, became the first animated superstar.
* [[Toon City]]


=== Australia ===
[[Image:FelixTheCat-1919-FelineFollies silent.ogv|thumb|''Feline Follies'' with [[Felix the Cat]], silent, 1919]]
* [[DisneyToon Studios]]
* [[Liquid Animation]]
* [[Yoram Gross Films]] / [[Flying Bark Productions]]


== Related pages ==
===American golden age===
* [[Anime]]
In 1928, ''[[Steamboat Willie]]'', featuring [[Mickey Mouse]] and [[Minnie Mouse]], popularized film with synchronized sound and put [[Walt Disney]]'s studio at the forefront of the animation industry.
* [[Cartoon]]
* [[CGI animation]]
* [[Movie]]
* [[Stop-Motion]]
* [[CGI ImageMovers And PlayTone]]


== Other websites ==
The enormous success of Mickey Mouse is seen as the start of the [[golden age of American animation]] that would last until the 1960s. The United States dominated the world market of animation with a plethora of cel-animated theatrical shorts. Several studios would introduce characters that would become very popular and would have long-lasting careers, including [[Walt Disney Productions]]' [[Goofy]] (1932) and [[Donald Duck]] (1934), [[Warner Bros. Cartoons]]' [[Looney Tunes]] characters like [[Porky Pig]] (1935), [[Daffy Duck]] (1937), [[Bugs Bunny]] (1938–1940), [[Tweety]] (1941–1942), [[Sylvester the Cat]] (1945), [[Wile E. Coyote and Road Runner]] (1949), [[Fleischer Studios]]/[[Paramount Cartoon Studios]]' [[Betty Boop]] (1930), [[Popeye#Theatrical animated cartoons|Popeye]] (1933), [[Superman (1940s cartoons)|Superman]] (1941) and [[Casper the friendly ghost|Casper]] (1945), [[Metro-Goldwyn-Mayer cartoon studio|MGM cartoon studio]]'s [[Tom and Jerry]] (1940) and [[Droopy]], [[Walter Lantz Productions]]/[[Universal Studio Cartoons]]' [[Woody Woodpecker]] (1940), [[Terrytoons]]/[[20th Century Fox]]'s [[Gandy Goose]] (1938), [[Dinky Duck]] (1939), [[Mighty Mouse]] (1942) and [[Heckle and Jeckle]] (1946) and [[United Artists]]' [[Pink Panther (character)|Pink Panther]] (1963).


{{commons category|Animations}}
===Features before CGI===
* [http://www.keyframeonline.com Keyframe - The Animation Resource]
[[File:Quirino Cristiani con una figura.jpg|thumb|upright=0.8|Italian-Argentine cartoonist [[Quirino Cristiani]] showing the cut and articulated figure of his satirical character ''El Peludo'' (based on President [[Hipólito Yrigoyen|Yrigoyen]]) patented in 1916 for the realization of his films, including the world's first animated feature film ''[[El Apóstol]]''.{{sfn|Bendazzi|1994|p=49}}]]
* [http://www.toonopedia.com Don Markenstein's Toonopedia]
In 1917, Italian-Argentine director [[Quirino Cristiani]] made the first feature-length film ''[[El Apóstol]]'' (now [[lost film|lost]]), which became a critical and commercial success. It was followed by Cristiani's ''[[Sin dejar rastros]]'' in 1918, but one day after its premiere, the film was confiscated by the government.
* [http://www.awn.com Animation World Network]
* [http://www.cartoonresearch.com Cartoon Research (site has a complete list of American release dates for animated features)]
* [http://www.iafistanbul.com IAF - Istanbul Animation Festival]
* [[Internet Movie Database]]'s page for [https://www.imdb.com/Sections/Genres/Animation/ animation] (and also [https://www.imdb.com/chart/animation its lists of best and worst titles])
* [http://pptheaven.mvps.org/ PowerPoint Heaven - The Power to Animate] Contains tutorials on creating animations for PowerPoint Presentations.


[[Category:Movie industry]]
After working on it for three years, [[Lotte Reiniger]] released the German feature-length [[silhouette animation]] ''[[Die Abenteuer des Prinzen Achmed]]'' in 1926, the oldest extant animated feature.
 
In 1937, [[Walt Disney Animation Studios|Walt Disney Studios]] premiered their first animated feature, ''[[Snow White and the Seven Dwarfs (1937 film)|Snow White and the Seven Dwarfs]]'', still one of the highest-grossing traditional animation features {{as of|lc=y| May 2020}}.<ref name="snowwhite1">* Total prior to 50th anniversary reissue: {{cite news |last=Culhane |first=John |title='Snow White' At 50: Undimmed Magic |date=July 12, 1987 |work=[[The New York Times]] |url=https://www.nytimes.com/1987/07/12/movies/snow-white-at-50-undimmed-magic.html |access-date=June 29, 2014 |quote=By now, it has grossed about $330&nbsp;million worldwide - so it remains one of the most popular films ever made. |archive-url=https://web.archive.org/web/20140604200704/http://www.nytimes.com/1987/07/12/movies/snow-white-at-50-undimmed-magic.html |archive-date=June 4, 2014 |url-status=live }}</ref><ref name="snowwhite2">* 1987 and 1993 grosses from North America: {{cite web |title=Snow White and the Seven Dwarfs – Releases |work=[[Box Office Mojo]] |url=https://www.boxofficemojo.com/movies/?page=releases&id=snowwhite.htm |access-date=June 29, 2014 |quote=1987 release – $46,594,212; 1993 release – $41,634,471 |archive-url=https://web.archive.org/web/20140529094807/http://www.boxofficemojo.com/movies/?page=releases&id=snowwhite.htm |archive-date=May 29, 2014 |url-status=dead }}</ref> The Fleischer studios followed this example in 1939 with ''[[Gulliver's Travels (1939 film)|Gulliver's Travels]]'' with some success. Partly due to foreign markets being cut off by the Second World War, Disney's next features ''[[Pinocchio (1940 film)|Pinocchio]]'', ''[[Fantasia (1940 film)|Fantasia]]'' (both 1940) and Fleischer Studios' second animated feature ''[[Mr. Bug Goes to Town]]'' (1941–1942) failed at the box office. For decades afterward, Disney would be the only American studio to regularly produce animated features, until [[Ralph Bakshi]] became the first to also release more than a handful features. Sullivan-Bluth Studios began to regularly produce animated features starting with ''[[An American Tail]]'' in 1986.
 
Although relatively few titles became as successful as Disney's features, other countries developed their own animation industries that produced both short and feature theatrical animations in a wide variety of styles, relatively often including [[stop motion]] and [[cutout animation]] techniques. Russia's [[Soyuzmultfilm]] animation studio, founded in 1936, produced 20 films (including shorts) per year on average and reached 1,582 titles in 2018. China, Czechoslovakia / Czech Republic, Italy, France, and Belgium were other countries that more than occasionally released feature films, while Japan became a true powerhouse of animation production, with its own recognizable and influential [[anime]] style of effective [[limited animation]].
 
===Television===
Animation became very popular on television since the 1950s, when television sets started to become common in most developed countries. Cartoons were mainly programmed for children, on convenient time slots, and especially US youth spent many hours watching [[Saturday-morning cartoon]]s. Many classic cartoons found a new life on the small screen and by the end of the 1950s, the production of new animated cartoons started to shift from theatrical releases to TV series. [[Hanna-Barbera Productions]] was especially prolific and had huge hit series, such as ''[[The Flintstones]]'' (1960–1966) (the first [[prime time]] animated series), ''[[Scooby-Doo]]'' (since 1969) and Belgian co-production ''[[The Smurfs (1981 TV series)|The Smurfs]]'' (1981–1989). The constraints of American television programming and the demand for an enormous quantity resulted in cheaper and quicker [[limited animation]] methods and much more formulaic scripts. Quality dwindled until more daring animation surfaced in the late 1980s and in the early 1990s with hit series such as ''[[The Simpsons]]'' (since 1989) as part of a "renaissance" of American animation.
 
While US animated series also spawned successes internationally, many other countries produced their own child-oriented programming, relatively often preferring [[stop motion]] and [[puppetry]] over cel animation. Japanese [[anime]] TV series became very successful internationally since the 1960s, and European producers looking for affordable cel animators relatively often started co-productions with Japanese studios, resulting in hit series such as ''[[Barbapapa]]'' (The Netherlands/Japan/France 1973–1977), ''[[Vicky the Viking|Wickie und die starken Männer/小さなバイキング ビッケ (Vicky the Viking)]]'' (Austria/Germany/Japan 1974), and ''[[The Jungle Book (1989 TV series)|The Jungle Book]]'' (Italy/Japan 1989).
 
===Switch from cels to computers===
{{main|History of computer animation}}
[[Computer animation]] was gradually developed since the 1940s. 3D wireframe animation started popping up in the mainstream in the 1970s, with an early (short) appearance in the sci-fi thriller ''[[Futureworld]]'' (1976).
 
''[[The Rescuers Down Under]]'' was the first feature film to be completely created digitally without a camera.<ref name="first digital guinness">{{cite web |title=First fully digital feature film |url=http://www.guinnessworldrecords.com/world-records/first-fully-digital-feature-film/ |work=Guinness World Records |publisher=Guinness World Records Limited |access-date=27 December 2018}}</ref> It was produced in a style that's very similar to traditional cel animation on the [[Computer Animation Production System]] (CAPS), developed by [[The Walt Disney Company]] in collaboration with [[Pixar]] in the late 1980s.
 
The so-called 3D style, more often associated with computer animation, has become extremely popular since Pixar's ''[[Toy Story]]'' (1995), the first computer-animated feature in this style.
 
Most of the cel animation studios switched to producing mostly computer animated films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing new styles and effects.<ref>{{cite web |last=Amidi |first=Amid |title=Sergio Pablos Talks About His Stunning Hand-Drawn Project 'Klaus' |url=https://www.cartoonbrew.com/interviews/sergio-pablos-talks-about-his-stunning-hand-drawn-project-klaus-exclusive-113621.html |website=[[Cartoon Brew]] |date=1 June 2015 |access-date=12 October 2019}}</ref><ref>{{cite web |url=https://www.youtube.com/watch?v=FHxhr6KAaUw | archive-url=https://ghostarchive.org/varchive/youtube/20211122/FHxhr6KAaUw| archive-date=2021-11-22 | url-status=live|title=The Origins of Klaus |date=10 October 2019 |website=[[YouTube]] |access-date=12 October 2019}}{{cbignore}}</ref><ref>{{cite web |last=Bernstein |first=Abbie |title=Assignment X|url=http://www.assignmentx.com/2013/exclusive-interview-john-kahrs-kristina-reed-on-paperman/|work=Exclusive Interview: John Kahrs & Kristina Reed on PAPERMAN|publisher=Midnight Productions, Inc|access-date=6 October 2013|date=25 February 2013}}</ref><ref>{{cite web |title=FIRST LOOK: Disney's 'Paperman' fuses hand-drawn charm with digital depth |url=http://insidemovies.ew.com/2012/06/28/first-look-paperman/2/#id=I2_1340992465384&parent=http%3A%2F%2Finsidemovies.ew.com&rpctoken=342270562&_methods=onPlusOne%2Constartinteraction%2C_ready%2C_close%2C_open%2C_resizeMe%2C_renderstart |work=EW.com |access-date=2 October 2014}}</ref><ref>{{cite web|last=Sarto|first=Dan|title=Inside Disney's New Animated Short Paperman|url=http://www.awn.com/articles/short-films/inside-disney-s-new-animated-short-paperman|publisher=Animation World Network|access-date=5 June 2012}}</ref><ref>{{cite web|url=http://www.3dworldmag.com/2012/06/29/disneys-paperman-animated-short-fuses-cg-and-hand-drawn-techniques/|title=Disney's Paperman animated short fuses CG and hand-drawn techniques|access-date=2 October 2014}}</ref>
 
==Economic status==
In 2010, the animation market was estimated to be worth circa US$80 billion.{{sfn|Board of Investments|2009}} By 2020, the value had increased to an estimated US$270 billion.<ref>{{Cite web |title=Global animation market value 2017-2020 |url=https://www.statista.com/statistics/817601/worldwide-animation-market-size/ |access-date=2022-03-31 |website=Statista |language=en}}</ref> Animated feature-length films returned the highest [[gross margin]]s (around 52%) of all [[film genre]]s between 2004 and 2013.{{sfn|McDuling|2014}} Animation as an art and industry continues to thrive as of the early 2020s.
 
==Education, propaganda and commercials==
The clarity of animation makes it a powerful tool for instruction, while its total malleability also allows exaggeration that can be employed to convey strong emotions and to thwart reality. It has therefore been widely used for other purposes than mere entertainment.
 
During World War II, animation was widely exploited for propaganda. [[World War II and American animation|Many American studios]], including Warner Bros. and Disney, lent their talents and their cartoon characters to convey to the public certain war values. Some countries, including China, Japan and the United Kingdom, produced their first feature-length animation for their war efforts.
 
Animation has been very popular in television commercials, both due to its graphic appeal, and the humour it can provide. Some animated characters in commercials have survived for decades, such as [[Snap, Crackle and Pop]] in advertisements for Kellogg's cereals.<ref>{{Cite web|title=Snap, Crackle, Pop® {{!}} Rice Krispies®|url=https://www.ricekrispies.com/en_US/our-story.html|access-date=2020-06-16|website=www.ricekrispies.com|language=en}}</ref> The legendary animation director [[Tex Avery]] was the producer of the first [[Raid (insecticide)|Raid]] "[[Kills Bugs Dead]]" commercials in 1966, which were very successful for the company.<ref>{{Cite web|last=Taylor|first=Heather|date=2019-06-10|title=The Raid Bugs: Characters We Love To Hate|url=https://popicon.life/the-raid-bugs-characters-we-love-to-hate/|access-date=2020-06-16|website=PopIcon.life|language=en-US}}</ref>
 
==Other media, merchandise and theme parks==
Apart from their success in movie theaters and television series, many cartoon characters would also prove extremely lucrative when licensed for all kinds of merchandise and for other media.
 
Animation has traditionally been very closely related to [[comic book]]s. While many comic book characters found their way to the screen (which is often the case in Japan, where many [[manga]] are adapted into [[anime]]), original animated characters also commonly appear in comic books and magazines. Somewhat similarly, characters and plots for [[video game]]s (an interactive animation medium) have been derived from films and vice versa.
 
Some of the original content produced for the screen can be used and marketed in other media. Stories and images can easily be adapted into children's books and other printed media. Songs and music have appeared on records and as streaming media.
 
While very many animation companies commercially exploit their creations outside moving image media, [[The Walt Disney Company]] is the best known and most extreme example. Since first being licensed for a children's writing tablet in 1929, their [[Mickey Mouse]] mascot has been [[Mickey Mouse#Merchandising|depicted on an enormous amount of products]], as have many other Disney characters. This may have influenced some [[Mickey Mouse#pejorative use of Mickey's name|pejorative use of Mickey's name]], but [[Disney Consumer Products|licensed Disney products]] sell well, and the so-called [[Disneyana]] has many avid collectors, and even a dedicated Disneyana fanclub (since 1984).
 
[[Disneyland]] opened in 1955 and features many attractions that were based on Disney's cartoon characters. Its enormous success spawned several other [[Disney Parks, Experiences and Products#Disney resorts|Disney theme parks and resorts]]. [[The Walt Disney Company#Financial data|Disney's earnings]] from the theme parks have relatively often been higher than those from their movies.
 
==Criticism==
Criticism of animation has been common in media and cinema since its inception. With its popularity, a large amount of criticism has arisen, especially animated feature-length films.{{sfn|Amidi|2011}} Many concerns of cultural representation, psychological effects on children have been brought up around the animation industry, which has remained rather politically unchanged and stagnant since its inception into mainstream culture.{{sfn|Nagel|2008}}
 
==Awards==
{{Main|List of animation awards}}
As with any other form of media, animation has instituted awards for excellence in the field. Many are part of general or regional film award programs, like the China's [[Golden Rooster Awards|Golden Rooster Award]] for [[Golden Rooster Award for Best Animation|Best Animation]] (since 1981). Awards programs dedicated to animation, with many categories, include [[ASIFA-Hollywood]]'s [[Annie Awards]], the [[Emile Awards]] in Europe and the [[Anima Mundi (event)|Anima Mundi]] awards in Brazil.
 
===Academy Awards===
{{Main|List of animated feature films nominated for Academy Awards}}
Apart from [[Academy Awards]] for [[Academy Award for Best Animated Short Film|Best Animated Short Film]] (since 1932) and [[Academy Award for Best Animated Feature|Best Animated Feature]] (since 2002), animated movies have been nominated and rewarded in other categories, relatively often for [[Academy Award for Best Original Song|Best Original Song]] and [[Academy Award for Best Original Score|Best Original Score]].
 
''[[Beauty and the Beast (1991 film)|Beauty and the Beast]]'' was the first animated film nominated for [[Academy Award for Best Picture|Best Picture]], in 1991. ''[[Up (2009 film)|Up]]'' (2009) and ''[[Toy Story 3]]'' (2010) also received Best Picture nominations, after the academy expanded the number of nominees from five to ten.
 
==Production==
[[File:Joy &amp; Heron - Animated CGI Spot by Passion Pictures.webm|thumb|''Joy & Heron'']]
The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of [[filmmaking]], with certain unique aspects.{{sfn|Laybourne|1998|p=117}} Traits common to both live-action and animated [[Feature film|feature-length films]] are labor intensity and high production costs.{{sfn|Solomon|1989|p=274}}
 
The most important difference is that once a film is in the production phase, the [[marginal cost]] of one more shot is higher for animated films than live-action films.{{sfn|White|2006|p=151}} It is relatively easy for a director to ask for one more [[take]] during [[principal photography]] of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation).{{sfn|Laybourne|1998|p=339}} It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film.{{sfn|Culhane|1990|p=55}} Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where [[storyboard artist]]s develop every single scene through [[storyboard]]s, then handing the film over to the animators only after the production team is satisfied that all the scenes make sense as a whole.{{sfn|Solomon|1989|p=120}} While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (i.e., real-time improvisation).{{sfn|Laybourne|1998|pp=100–01}}
 
Another problem unique to animation is the requirement to maintain a film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film.{{sfn|Masson|2007|p=94}} Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult.{{sfn|Beck|2004|p=37}}
 
This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. Character designers on the visual development team draw [[model sheet]]s to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles.{{sfn|Williams|2001|p=34}}{{sfn|Culhane|1990|p=146}} On traditionally animated projects, [[maquette]]s were often sculpted to further help the animators see how characters would look from different angles.{{sfn|Williams|2001|pp=52–57}}{{sfn|Williams|2001|p=34}}
 
Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film.{{sfn|Laybourne|1998|pp=99–100}} In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also continuing to use story departments) and screenplays had become commonplace for animated films by the late 1980s.
 
==Techniques==
===Traditional===
{{Main|Traditional animation}}
[[File:Animhorse.gif|thumb|An example of traditional animation, a horse animated by [[rotoscoping]] from [[Eadweard Muybridge]]'s 19th-century photos.]]
'''Traditional animation''' (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century.{{sfn|White|2006|p=31}} The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper.{{sfn|Beckerman|2003|p=153}} To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called [[cel]]s,{{sfn|Thomas|Johnston|1981|pp=277–79}} which are filled in with paints in assigned colors or tones on the side opposite the line drawings.{{sfn|Laybourne|1998|p=203}} The completed character cels are photographed one-by-one against a painted background by a [[rostrum camera]] onto motion picture film.{{sfn|White|2006|pp=195–201}}
 
The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system.{{sfn|Buchan|2013}}{{sfn|White|2006|p=394}} Various software programs are used to color the drawings and simulate camera movement and effects.{{sfn|Culhane|1990|p=296}} The final animated piece is output to one of several delivery media, including traditional [[35 mm movie film|35&nbsp;mm film]] and newer media with [[digital video]].{{sfn|Laybourne|1998|pp=35–36, 52–53}}{{sfn|Buchan|2013}} The "look" of traditional cel animation is still preserved, and the [[Character animation|character animator]]s' work has remained essentially the same over the past 70 years.{{sfn|Williams|2001|pp=52–57}} Some animation producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer technology.
 
Examples of traditionally animated feature films include ''[[Pinocchio (1940 film)|Pinocchio]]'' (United States, 1940),{{sfn|Solomon|1989|pp=63–65}} ''[[Animal Farm (1954 film)|Animal Farm]]'' (United Kingdom, 1954), ''[[Lucky and Zorba]]'' (Italy, 1998), and ''[[The Illusionist (2010 film)|The Illusionist]]'' (British-French, 2010). Traditionally animated films produced with the aid of computer technology include ''[[The Lion King]]'' (US, 1994), ''[[The Prince of Egypt]]'' (US, 1998), ''[[Akira (1988 film)|Akira]]'' (Japan, 1988),{{sfn|Beckerman|2003|p=80}} ''[[Spirited Away]]'' (Japan, 2001), ''[[The Triplets of Belleville]]'' (France, 2003), and ''[[The Secret of Kells]]'' (Irish-French-Belgian, 2009).
 
====Full====
'''Full animation''' refers to the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement,{{sfn|Culhane|1990|p=71}} having a smooth animation.{{sfn|Culhane|1990|pp=194–95}} Fully animated films can be made in a variety of styles, from more realistically animated works like those produced by the [[Walt Disney Animation Studios|Walt Disney studio]] (''[[The Little Mermaid (1989 film)|The Little Mermaid]]'', ''[[Beauty and the Beast (1991 film)|Beauty and the Beast]]'', ''[[Aladdin (1992 Disney film)|Aladdin]]'', ''The Lion King'') to the more 'cartoon' styles of the [[Warner Bros. Cartoons|Warner Bros. animation studio]]. Many of the [[Disney animated features]] are examples of full animation, as are non-Disney works, ''[[The Secret of NIMH]]'' (US, 1982), ''[[The Iron Giant]]'' (US, 1999), and ''[[Nocturna (Film)|Nocturna]]'' (Spain, 2007). Fully animated films are animated at 24 frames per second, with a combination of animation on ones and twos, meaning that drawings can be held for one frame out of 24 or two frames out of 24.{{sfn|Laybourne|1998|pp=25–26}}
 
====Limited====
{{Main|Limited animation}}
'''[[Limited animation]]''' involves the use of less detailed or more stylized drawings and methods of movement usually a choppy or "skippy" movement animation.{{sfn|Beckerman|2003|p=142}} Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio [[United Productions of America]],{{sfn|Beckerman|2003|pp=54–55}} limited animation can be used as a method of stylized artistic expression, as in ''[[Gerald McBoing-Boing]]'' (US, 1951), ''[[Yellow Submarine (1968 film)|Yellow Submarine]]'' (UK, 1968), and certain [[anime]] produced in Japan.{{sfn|Ledoux|1997|p=24, 29}} Its primary use, however, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera,{{sfn|Lawson|Persons|2004|p=82}} [[Filmation]],{{sfn|Solomon|1989|p=241}} and other TV animation studios{{sfn|Lawson|Persons|2004|p=xxi}}) and later the [[Internet]] ([[web cartoon]]s).
 
====Rotoscoping====
{{Main|Rotoscoping}}
'''Rotoscoping''' is a technique patented by [[Max Fleischer]] in 1917 where animators trace live-action movement, frame by frame.{{sfn|Crafton|1993|p=158}} The source film can be directly copied from actors' outlines into animated drawings,{{sfn|Laybourne|1998|pp=163–64}} as in ''[[The Lord of the Rings (1978 film)|The Lord of the Rings]]'' (US, 1978), or used in a stylized and expressive manner, as in ''[[Waking Life]]'' (US, 2001) and ''[[A Scanner Darkly (film)|A Scanner Darkly]]'' (US, 2006). Some other examples are ''[[Fire and Ice (1983 film)|Fire and Ice]]'' (US, 1983), ''[[Heavy Metal (film)|Heavy Metal]]'' (1981), and ''[[The Flowers of Evil (manga)|Aku no Hana]]'' (Japan, 2013).
 
====Live-action blending====
{{Main|Films with live action and animation}}
'''[[List of films with live action and animation|Live-action/animation]]''' is a technique combining hand-drawn characters into live action shots or live-action actors into animated shots.{{sfn|Laybourne|1998|pp=162–63}} One of the earlier uses was in [[Koko the Clown]] when Koko was drawn over live-action footage.{{sfn|Beck|2004|pp=18–19}} Walt Disney and Ub Iwerks created a series of ''[[Alice Comedies]]'' (1923–1927), in which a live-action girl enters an animated world. Other examples include ''[[Allegro Non Troppo]]'' (Italy, 1976), ''[[Who Framed Roger Rabbit]]'' (US, 1988), ''[[Volere volare]]'' (Italy 1991), ''[[Space Jam]]'' (US, 1996) and ''[[Osmosis Jones]]'' (US, 2001).
 
===Stop motion===
{{Main|Stop motion}}
[[Stop-motion animation]] is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement.{{sfn|Solomon|1989|p=299}} There are many different types of stop-motion animation, usually named after the medium used to create the animation.{{sfn|Laybourne|1998|p=159}} Computer software is widely available to create this type of animation; traditional stop-motion animation is usually less expensive but more time-consuming to produce than current computer animation.{{sfn|Laybourne|1998|p=159}}
; [[Puppet animation]] : Typically involves stop-motion puppet figures interacting in a constructed environment, in contrast to real-world interaction in model animation.{{sfn|Solomon|1989|p=171}} The puppets generally have an [[armature (sculpture)|armature]] inside of them to keep them still and steady to constrain their motion to particular joints.{{sfn|Laybourne|1998|pp=155–56}} Examples include ''[[The Tale of the Fox]]'' (France, 1937), ''[[The Nightmare Before Christmas]]'' (US, 1993), ''[[Corpse Bride]]'' (US, 2005), ''[[Coraline (film)|Coraline]]'' (US, 2009), the films of [[Jiří Trnka]] and the adult animated sketch-comedy television series ''[[Robot Chicken]]'' (US, 2005–present).
:; [[Puppetoon]] : Created using techniques developed by [[George Pal]],{{sfn|Beck|2004|p=70}} are puppet-animated films that typically use a different version of a puppet for different frames, rather than simply manipulating one existing puppet.{{sfn|Beck|2004|pp=92–93}}
[[File:Claychick.jpg|thumb|A clay animation scene from a [[Finland|Finnish]] television commercial]]
; [[Clay animation]] or [[Plasticine]] animation : (Often called ''claymation'', which, however, is a [[Laika (company)|trademarked]] name). It uses figures made of clay or a similar malleable material to create stop-motion animation.{{sfn|Solomon|1989|p=299}}{{sfn|Laybourne|1998|pp=150–151}} The figures may have an [[armature (sculpture)|armature]] or wire frame inside, similar to the related puppet animation (below), that can be manipulated to pose the figures.{{sfn|Laybourne|1998|pp=151–54}} Alternatively, the figures may be made entirely of clay, in the films of [[Bruce Bickford (animator)|Bruce Bickford]], where clay creatures morph into a variety of different shapes. Examples of clay-animated works include ''The [[Gumby]] Show'' (US, 1957–1967), ''[[Mio Mao]]'' (Italy, 1974–2005), ''[[Morph (animation)|Morph]]'' shorts (UK, 1977–2000), ''[[Wallace and Gromit]]'' shorts (UK, as of 1989), [[Jan Švankmajer]]'s ''[[Dimensions of Dialogue]]'' ([[Czechoslovakia]], 1982), ''[[The Trap Door]]'' (UK, 1984). Films include ''[[Wallace & Gromit: The Curse of the Were-Rabbit]]'', ''[[Chicken Run]]'' and ''[[The Adventures of Mark Twain (1985 film)|The Adventures of Mark Twain]]''.{{sfn|Beck|2004|p=250}}
:; [[Strata-cut animation]] : Most commonly a form of clay animation in which a long bread-like "loaf" of clay, internally packed tight and loaded with varying imagery, is sliced into thin sheets, with the animation camera taking a frame of the end of the loaf for each cut, eventually revealing the movement of the internal images within.{{sfn|Furniss|1998|pp=52–54}}
; [[Cutout animation]] : A type of stop-motion animation produced by moving two-dimensional pieces of material paper or cloth.{{sfn|Laybourne|1998|pp=59–60}} Examples include [[Terry Gilliam]]'s animated sequences from ''[[Monty Python's Flying Circus]]'' (UK, 1969–1974); ''[[Fantastic Planet]]'' (France/Czechoslovakia, 1973); ''[[Tale of Tales (1979 film)|Tale of Tales]]'' (Russia, 1979), The pilot episode of the adult television sitcom series (and sometimes in episodes) of ''[[South Park]]'' (US, 1997) and the music video Live for the moment, from Verona Riots band (produced by Alberto Serrano and Nívola Uyá, Spain 2014).
:; [[Silhouette animation]] : A variant of cutout animation in which the characters are backlit and only visible as silhouettes.{{sfn|Culhane|1990|pp=170–171}} Examples include ''[[The Adventures of Prince Achmed]]'' ([[Weimar Republic]], 1926) and ''[[Princes et Princesses]]'' (France, 2000).
; [[Model animation]] : Refers to stop-motion animation created to interact with and exist as a part of a live-action world.{{sfn|Harryhausen|Dalton|2008|pages=9–11}} Intercutting, [[matte (filmmaking)|matte]] effects and split screens are often employed to blend stop-motion characters or objects with live actors and settings.<ref name="Harryhausen_Dalton222–226"/> Examples include the work of [[Ray Harryhausen]], as seen in films, ''[[Jason and the Argonauts (1963 film)|Jason and the Argonauts]]'' (1963),<ref name="Harryhausen_Dalton18"/> and the work of [[Willis H. O'Brien]] on films, ''[[King Kong (1933 film)|King Kong]]'' (1933).
:;[[Go motion]] : A variant of model animation that uses various techniques to create [[motion blur]] between frames of film, which is not present in traditional stop motion.{{sfn|Smith|1986|p=90}} The technique was invented by [[Industrial Light & Magic]] and [[Phil Tippett]] to create [[special effect]] scenes for the film ''[[The Empire Strikes Back]]'' (1980).{{sfn|Watercutter|2012}} Another example is the dragon named "Vermithrax" from the 1981 film ''[[Dragonslayer (1981 film)|Dragonslayer]]''.{{sfn|Smith|1986|pages=91–95}}
; [[Object animation]] : Refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items.{{sfn|Laybourne|1998|pp=51–57}}
:; [[Graphic animation]] : Uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.), which are sometimes manipulated frame by frame to create movement.{{sfn|Laybourne|1998|p=128}} At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action.
:; [[Brickfilm]] : A subgenre of object animation involving using [[Lego]] or other similar brick toys to make an animation.{{sfn|Paul|2005|pages=357–63}}{{sfn|Herman|2014}} These have had a recent boost in popularity with the advent of video sharing sites, [[YouTube]] and the availability of cheap cameras and [[animation software]].{{sfn|Haglund|2014}}
; [[Pixilation]] : Involves the use of live humans as stop-motion characters.{{sfn|Laybourne|1998|pp=75–79}} This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other effects.{{sfn|Laybourne|1998|pp=75–79}} Examples of pixilation include ''[[The Secret Adventures of Tom Thumb]]'' and ''[[Angry Kid]]'' shorts, and the [[Academy Award]]-winning ''[[Neighbours (1952 film)|Neighbours]]'' by [[Norman McLaren]].
 
===Computer===
{{Main|Computer animation}}
'''Computer animation''' encompasses a variety of techniques, the unifying factor being that the animation is created digitally on a computer.{{sfn|Culhane|1990|p=296}}{{sfn|Serenko|2007}} 2D animation techniques tend to focus on image manipulation while 3D techniques usually build virtual worlds in which characters and objects move and interact.{{sfn|Masson|2007|p=405}} 3D animation can create images that seem real to the viewer.{{sfn|Serenko|2007|p=482}}
 
====2D====
{{main|2D computer graphics}}
[[File:Catenary animation.gif|thumb|A 2D animation of two circles joined by a chain]]
 
[[2D computer graphics|2D animation]] figures are created or edited on the computer using 2D [[Raster graphics|bitmap graphics]] and 2D [[vector graphics]].{{sfn|Masson|2007|p=165}} This includes automated computerized versions of traditional animation techniques, [[Interpolation|interpolated]] [[morphing]],{{sfn|Sito|2013|pp=32, 70, 132}} [[onion skinning]]{{sfn|Priebe|2006|pp=71–72}} and interpolated rotoscoping.
2D animation has many applications, including [[Scanimate|analog computer animation]], [[Flash animation]], and [[PowerPoint animation]]. [[Cinemagraph]]s are [[Still life photography|still photographs]] in the form of an [[animated GIF]] file of which part is animated.{{sfn|White|2006|p=392}}
 
Final line [[advection]] animation is a technique used in 2D animation,{{sfn|Lowe|Schnotz|2008|pp=246–47}} to give artists and animators more influence and control over the final product as everything is done within the same department.{{sfn|Masson|2007|pp=127–28}} Speaking about using this approach in ''[[Paperman]]'', John Kahrs said that "Our animators can change things, actually erase away the CG underlayer if they want, and change the profile of the arm."{{sfn|Beck|2012}}
 
====3D====
{{Main|Computer animation|3D computer graphics}}
3D animation is digitally modeled and manipulated by an animator. The 3D model maker usually starts by creating a 3D [[polygon mesh]] for the animator to manipulate.{{sfn|Masson|2007|p=88}} A mesh typically includes many vertices that are connected by edges and faces, which give the visual appearance of form to a 3D object or 3D environment.{{sfn|Masson|2007|p=88}} Sometimes, the mesh is given an internal digital skeletal structure called an [[Armature (computer animation)|armature]] that can be used to control the mesh by weighting the vertices.{{sfn|Sito|2013|p=208}}{{sfn|Masson|2007|pp=78–80}} This process is called rigging and can be used in conjunction with [[key frame]]s to create movement.{{sfn|Sito|2013|p=285}}
 
Other techniques can be applied, mathematical functions (e.g., gravity, particle simulations), simulated fur or hair, and effects, fire and [[fluid animation|water simulations]].{{sfn|Masson|2007|p=96}} These techniques fall under the category of 3D dynamics.{{sfn|Lowe|Schnotz|2008|p=92}}
 
=====Terms=====
* '''[[Cel-shaded animation]]''' is used to mimic traditional animation using computer software.<ref>{{cite web|title=Cel Shading: the Unsung Hero of Animation?|url=http://www.animatormag.com/computer/cel-shading-hero-animation/|publisher=Animator Mag|access-date=20 February 2016|url-status=live|archive-url=https://web.archive.org/web/20160305090445/http://www.animatormag.com/computer/cel-shading-hero-animation/|archive-date=5 March 2016|date=17 December 2011}}</ref> The shading looks stark, with less blending of colors. Examples include ''[[Skyland]]'' (2007, France), ''[[The Iron Giant]]'' (1999, United States), ''[[Futurama]]'' (1999, United States) ''[[Appleseed Ex Machina]]'' (2007, Japan), ''[[The Legend of Zelda: The Wind Waker]]'' (2002, Japan), ''[[The Legend of Zelda: Breath of the Wild]]'' (2017, Japan)
* '''[[Machinima]]''' – Films created by screen capturing in video games and virtual worlds. The term originated from the software introduction in the 1980s [[demoscene]], as well as the 1990s recordings of the [[first-person shooter]] video game ''[[Quake (video game)|Quake]]''.
* '''[[Motion capture]]''' is used when live-action actors wear special suits that allow computers to copy their movements into CG characters.{{sfn|Sito|2013|pp=207–08}}{{sfn|Masson|2007|p=204}} Examples include ''[[The Polar Express (film)|Polar Express]]'' (2004, US), ''[[Beowulf (2007 film)|Beowulf]]'' (2007, US), ''[[A Christmas Carol (2009 film)|A Christmas Carol]]'' (2009, US), ''[[The Adventures of Tintin (film)|The Adventures of Tintin]]'' (2011, US) ''[[Kochadaiiyaan|kochadiiyan]]'' (2014, India)
* '''[[Computer animation]]''' is used primarily for animation that attempts to resemble real life, using advanced rendering that mimics in detail skin, plants, water, fire, clouds, etc.{{sfn|Parent|2007|p=19}} Examples include ''[[Up (2009 film)|Up]]'' (2009, US), ''[[How to Train Your Dragon (film)|How to Train Your Dragon]]'' (2010, US)
* '''[[Physically based animation]]''' is animation using [[computer simulation]]s.<ref>{{cite book|author1=Donald H. House|author2=John C. Keyser|title=Foundations of Physically Based Modeling and Animation|url=https://books.google.com/books?id=ELXZDQAAQBAJ&q=animation|date=30 November 2016|publisher=CRC Press|isbn=978-1-315-35581-8}}</ref>
 
===Mechanical===
* '''[[Animatronics]]''' is the use of [[mechatronics]] to create machines that seem animate rather than robotic.
** '''[[Audio-Animatronics]] and Autonomatronics''' is a form of [[robotics]] animation, combined with 3-D animation, created by [[Walt Disney Imagineering]] for shows and attractions at Disney theme parks move and make noise (generally a recorded speech or song).{{sfn|Pilling|1997|p=249}} They are fixed to whatever supports them. They can sit and stand, and they cannot walk. An Audio-Animatron is different from an [[android (robot)|android]]-type robot in that it uses prerecorded movements and sounds, rather than responding to external stimuli. In 2009, Disney created an interactive version of the technology called Autonomatronics.{{sfn|O'Keefe|2014}}
** '''Linear Animation Generator''' is a form of animation by using static picture frames installed in a tunnel or a shaft. The animation illusion is created by putting the viewer in a linear motion, parallel to the installed picture frames.{{sfn|Parent|2007|pages=22–23}} The concept and the technical solution were invented in 2007 by Mihai Girlovan in Romania.
* '''[[Chuckimation]]''' is a type of animation created by the makers of the television series ''[[Action League Now!]]'' in which characters/props are thrown, or chucked from off camera or wiggled around to simulate talking by unseen hands.{{sfn|Kenyon|1998}}
* The '''[[Magic lantern#Moving images|magic lantern]]''' used mechanical slides to project moving images, probably since [[Christiaan Huygens]] invented this early image projector in 1659.
 
=== Other ===
[[File:World of Color overview.jpg|thumb|''[[World of Color]]'' hydrotechnics at [[Disney California Adventure]] creates the illusion of motion using 1,200 fountains with high-definition projections on mist screens.]]
* '''Hydrotechnics''': a technique that includes lights, water, fire, fog, and lasers, with high-definition projections on mist screens.
* '''[[Drawn on film animation]]''': a technique where footage is produced by creating the images directly on [[film stock]]; for example, by [[Norman McLaren]],{{sfn|Faber|Walters|2004|p=1979}} [[Len Lye]] and [[Stan Brakhage]].
* '''[[Paint-on-glass animation]]''': a technique for making animated films by manipulating slow drying [[oil paint]]s on sheets of glass,{{sfn|Pilling|1997|p=222}} for example by [[Aleksandr Petrov (animator)|Aleksandr Petrov]].
* '''Erasure animation''': a technique using traditional 2D media, photographed over time as the artist manipulates the image. For example, [[William Kentridge]] is famous for his [[charcoal]] erasure films,{{sfn|Carbone|2010}} and [[Piotr Dumała]] for his auteur technique of animating scratches on plaster.
* '''[[Pinscreen animation]]''': makes use of a screen filled with movable pins that can be moved in or out by pressing an object onto the screen.{{sfn|Neupert|2011}} The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with traditional cel animation.{{sfn|Pilling|1997|p=204}}
* '''[[Sand animation]]''': sand is moved around on a back- or front-[[light]]ed piece of glass to create each frame for an animated film.{{sfn|Brown|2003|p=7}} This creates an interesting effect when animated because of the light [[Contrast (vision)|contrast]].{{sfn|Furniss|1998|pp=30–33}}
* '''[[Flip book]]''': a flip book (sometimes, especially in British English, called a flick book) is a book with a series of pictures that vary gradually from one page to the next, so that when the pages are turned rapidly, the pictures appear to animate by simulating motion or some other change.{{sfn|Laybourne|1998|pp=22–24}}{{sfn|Solomon|1989|pp=8–10}} Flip books are often illustrated books for children,{{sfn|Laybourne|1998|p=xiv}} they also are geared towards adults and employ a series of photographs rather than drawings. Flip books are not always separate books, they appear as an added feature in ordinary books or magazines, often in the page corners.{{sfn|Laybourne|1998|pp=22–24}} Software packages and websites are also available that convert digital video files into custom-made flip books.{{sfn|White|2006|p=203}}
* '''[[Character animation]]'''
* '''[[Multi-sketch]]ing'''
* '''[[Special effect]]s animation'''
 
==See also==
{{Portal|Animation}}
{{Div col|colwidth=20em}}
* [[Twelve basic principles of animation]]
* [[War film#Animated|Animated war film]]
* [[Animation department]]
* [[Animated series]]
* [[Architectural animation]]
* [[Avar (animation variable)|Avar]]
* [[Independent animation]]
* [[International Animation Day]]
* [[International Animated Film Association]]
* [[International Tournée of Animation]]
* [[List of film-related topics]]
* [[Motion graphic design]]
* [[Society for Animation Studies]]
* [[Wire-frame model]]
 
{{Div col end}}
 
==References==
===Citations===
{{reflist|22em|refs=
<ref name="Harryhausen_Dalton18">{{Harvard citation no brackets|Harryhausen|Dalton|2008|page=18}}</ref>
 
<ref name="Harryhausen_Dalton222–226">{{Harvard citation no brackets|Harryhausen|Dalton|2008|pages=222–26}}</ref>
 
}}
 
===Sources===
====Journal articles====
{{refbegin|35em}}
* {{cite journal
|url = http://www.uca.edu/org/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm |title = Journal of Film and Video
|date=Spring 1993
|journal=The Myth of Persistence of Vision Revisited
|volume=45
|issue=1
|pages=3–13
|last=Anderson
|first=Joseph and Barbara
|url-status=dead
|archive-url = https://web.archive.org/web/20091124182503/http://www.uca.edu/org/ccsmi/ccsmi/classicwork/Myth%20Revisited.htm
|archive-date=24 November 2009
}}
* {{cite journal
|last=Serenko
|first=Alexander
|year=2007
|title = Computers in Human Behavior
|url = http://www.aserenko.com/papers/Serenko_Animation_Scale.pdf
|journal=The Development of an Instrument to Measure the Degree of Animation Predisposition of Agent Users
|volume=23
|number=1
|pages=478–95
}}
{{refend}}
 
====Books====
{{refbegin|35em}}
* {{cite book
|last=Baer
|first=Eva
|title=Metalwork in Medieval Islamic Art
|year=1983
|publisher=[[State University of New York Press]]
|isbn=978-0-87395-602-4
|pages=58, 86, 143, 151, 176, 201, 226, 243, 292, 304
}}
* {{cite book
|last=Beck
|first=Jerry
|title=Animation Art: From Pencil to Pixel, the History of Cartoon, Anime & CGI
|year=2004
|location=Fulhamm London
|publisher=Flame Tree Publishing
|isbn=978-1-84451-140-2
}}
* {{cite book
|last=Beckerman
|first=Howard
|title=Animation: The Whole Story
|publisher=Allworth Press
|year=2003
|isbn=978-1-58115-301-9
|url = https://archive.org/details/animationwholest00beck
}}
* {{cite book
|last=Bendazzi
|first=Giannalberto
|title = Cartoons: One Hundred Years of Cinema Animation
|url = https://archive.org/details/cartoons00gian
|url-access=registration
|location=Bloomington, Indiana
|publisher=Indiana University Press
|year=1994
|isbn=978-0-253-20937-5
}}
* {{cite book
|last=Buchan
|first=Suzanne
|title=Pervasive Animation
|location=New York and London
|publisher=Routledge
|year=2013
|isbn=978-0-415-80723-4
}}
* {{cite book
|last = Canemaker
|first = John
|author-link = John Canemaker
|title = Winsor McCay: His Life and Art
|edition = Revised
|year = 2005
|publisher = Abrams Books
|isbn = 978-0-8109-5941-5
|url = https://archive.org/details/winsormccayhisli00cane
}}
* {{cite book
|last = Cotte
|first = Olivier
|author-link = Olivier Cotte
|title = Secrets of Oscar-winning Animation: Behind the scenes of 13 classic short animations
|year = 2007
|publisher = Focal Press
|isbn = 978-0240520704
|url = https://www.routledge.com/Secrets-of-Oscar-winning-Animation-Behind-the-scenes-of-13-classic-short/Cotte/p/book/9780240520704
}}
* {{cite book
|last=Crafton
|first=Donald
|year=1993
|title=Before Mickey: The Animated Film 1898–1928
|publisher=University of Chicago Press
|location=Chicago
|isbn=978-0-226-11667-9
}}
* {{cite book
|author-link = Shamus Culhane
|last=Culhane
|first=Shamus
|title=Animation: Script to Screen
|publisher=St. Martin's Press
|year=1990
|isbn=978-0-312-05052-8
}}
* {{cite book
|last=Drazin
|first=Charles
|title=The Faber Book of French Cinema
|year=2011
|publisher=Faber & Faber
|isbn=978-0-571-21849-3
|url-access=registration
|url=https://archive.org/details/frenchcinema0000draz
}}
* {{cite book
|last1=Faber
|first1=Liz
|last2=Walters
|first2=Helen
|title=Animation Unlimited: Innovative Short Films Since 1940
|publisher=Laurence King Publishing
|location=London
|year=2004
|isbn=978-1-85669-346-2
|url-access=registration
|url = https://archive.org/details/animationunlimit0000fabe
}}
* {{cite book
|last=Finkielman
|first=Jorge
|title=The Film Industry in Argentina: An Illustrated Cultural History
|year=2004
|publisher=McFarland
|location=North Carolina
|isbn=978-0-7864-1628-8
|page=[https://archive.org/details/filmindustryinar00fink/page/20 20]
|url = https://archive.org/details/filmindustryinar00fink/page/20
}}
* {{cite book
|last=Furniss
|first=Maureen
|title=Art in Motion: Animation Aesthetics
|year=1998
|publisher=Indiana University Press
|isbn=978-1-86462-039-9
}}
* {{cite book
|last1=Godfrey
|first1=Bob
|last2=Jackson
|first2=Anna
|title=The Do-It-Yourself Film Animation Book
|publisher=BBC Publications
|year=1974
|isbn=978-0-563-10829-0
}}
* {{cite book
|last1=Harryhausen
|first1=Ray
|author1-link = Ray Harryhausen
|last2=Dalton
|first2=Tony
|author2-link = Tony Dalton
|title = A Century of Model Animation: From Méliès to Aardman
|year=2008
|publisher=Aurum Press
|isbn=978-0-8230-9980-1
}}
* {{cite book
|last=Herman
|first=Sarah
|year=2014
|title = Brick Flicks: A Comprehensive Guide to Making Your Own Stop-Motion LEGO Movies
|publisher=Skyhorse Publishing
|location=New York
|isbn=978-1-62914-649-2
}}
* {{cite book
|last1=Lawson
|first1=Tim
|last2=Persons
|first2=Alisa
|title = The Magic Behind the Voices
|title-link=The Magic Behind the Voices
|trans-title = A Who's Who of Cartoon Voice Actors
|publisher=University Press of Mississippi
|year=2004
|isbn=978-1-57806-696-4
}}
* {{cite book
|last=Laybourne
|first=Kit
|author-link = Kit Laybourne
|title = The Animation Book: A Complete Guide to Animated Filmmaking – from Flip-books to Sound Cartoons to 3-D Animation
|publisher=Three Rivers Press
|location=New York
|year=1998
|isbn=978-0-517-88602-1
|url = https://archive.org/details/animationbookcom00layb
}}
* {{cite book
|last=Ledoux
|first=Trish
|title = Complete Anime Guide: Japanese Animation Film Directory and Resource Guide
|publisher=Tiger Mountain Press
|year=1997
|isbn=978-0-9649542-5-0
}}
* {{cite book
|editor1-last = Lowe
|editor1-first = Richard
|editor2-last = Schnotz
|editor2-first = Wolfgang
|title = Learning with Animation. Research implications for design
|publisher=Cambridge University Press
|location=New York
|year=2008
|isbn=978-0-521-85189-3
}}
* {{cite book
|last=Masson
|first=Terrence
|author-link = Terrence Masson
|year=2007
|title = CG101: A Computer Graphics Industry Reference
|url = https://archive.org/details/isbn_9780977871001
|series = Unique and personal histories of early computer animation production, plus a comprehensive foundation of the industry for all reading levels.
|location=Williamstown, MA
|publisher=Digital Fauxtography
|isbn=978-0-9778710-0-1
}}
* {{cite book
|last=Needham
|first=Joseph
|year=1962
|title=Physics and Physical Technology
|publisher=Cambridge University Press
|chapter=Science and Civilization in China
|volume=IV
}}
* {{cite book
|last=Neupert
|first=Richard
|title=French Animation History
|year=2011
|publisher=John Wiley & Sons
|isbn=978-1-4443-3836-2
}}
* {{cite book
|last1=Parent
|first1=Rick
|title=Computer Animation: Algorithms & Techniques
|year=2007
|publisher=Morgan Kaufmann
|location=Ohio State University
|isbn=978-0-12-532000-9
}}
* {{cite book
|last=Paul
|first=Joshua
|title=Digital Video Hacks
|year=2005
|publisher=O'Reilly Media
|isbn=978-0-596-00946-5
|url = https://archive.org/details/digitalvideohack00paul_0
}}
* {{cite book
|last=Pilling
|first=Jayne
|title = A Reader in Animation Studies
|year=1997
|publisher=Indiana University Press
|editor=Society of Animation Studies
|isbn=978-1-86462-000-9
}}
* {{cite book
|last=Priebe
|first=Ken A.
|title=The Art of Stop-Motion Animation
|year=2006
|publisher=Thompson Course Technology
|isbn=978-1-59863-244-6
}}
* {{cite book
|last1=Rojas
|first1=Carlos
|last2=Chow
|first2=Eileen
|title = The Oxford Handbook of Chinese Cinemas
|year=2013
|publisher=Oxford University Press
|isbn=978-0-19-998844-0
}}
* {{cite book
|last1=Sammond
|first1=Nicholas
|title=Birth of an Industry: Blackface Minstrelsy and the Rise of American Animation
|date=27 August 2015
|publisher=Duke University Press
|location=Durham, NC
|isbn=9780822358527
|doi=10.1515/9780822375784
|oclc=8605897837
|url=https://read.dukeupress.edu/books/book/188
}}
* {{cite book
|last=Shaffer
|first=Joshua C.
|title = Discovering The Magic Kingdom: An Unofficial Disneyland Vacation Guide
|year= 2010
|publisher=Author House
|location=Indiana
|isbn=978-1-4520-6312-6
}}
* {{cite book
|last=Sito
|first=Tom
|title = Moving Innovation: A History of Computer Animation
|year=2013
|location=Massachusetts
|publisher=[[MIT Press]]
|isbn=978-0-262-01909-5
}}
* {{cite book
|last=Solomon
|first=Charles
|year=1989
|title = Enchanted Drawings: The History of Animation
|location=New York
|publisher=Random House, Inc.
|isbn=978-0-394-54684-1
}}
* {{cite book
|last=Thomas
|first=Bob
|title = Walt Disney, the Art of Animation: The Story of the Disney Studio Contribution to a New Art
|url = https://books.google.com/books?id=Pw3WAAAAMAAJ
|year=1958
|work=Walt Disney Studios
|publisher=Simon and Schuster
}}
* {{cite book
|last1=Thomas
|first1=Frank
|author1-link = Frank Thomas (animator)
|last2=Johnston
|first2=Ollie
|author2-link = Ollie Johnston
|title = Disney Animation: The Illusion of Life
|title-link=Disney Animation: The Illusion of Life
|publisher=Abbeville Press
|year=1981
|isbn=978-0-89659-233-9
}}
* {{cite book
|title = Industrial Light & Magic: The Art of Special Effects
|first = Thomas G.
|last = Smith
|year = 1986
|publisher = Ballantine Books
|location = New York
|isbn=978-0-345-32263-0
}}
* {{cite book
|last=White
|first=Tony
|title = Animation from Pencils to Pixels: Classical Techniques for the Digital Animator
|year=2006
|location=Milton Park
|publisher=Taylor & Francis
|isbn=978-0-240-80670-9
}}
* {{cite book
|last=Williams
|first=Richard
|author-link = Richard Williams (animator)
|title = The Animator's Survival Kit
|title-link = The Animator's Survival Kit
|year=2001
|publisher=Faber and Faber
|isbn=978-0-571-20228-7
}}
* {{cite book
|first1=Siegfried
|last1=Zielinski
|title=Audiovisions: Cinema and Television as Entr'actes in History
|year=1999
|publisher=Amsterdam University Press
|isbn=978-90-5356-303-8
}}
{{refend}}
 
====Online sources====
{{refbegin|35em}}
* {{cite web |last=Amidi |first=Amid |title = NY Film Critics Didn't like a Single Animated Film This Year |url = http://www.cartoonbrew.com/feature-film/ny-film-critics-didnt-like-a-single-animated-film-this-year-53464.html |publisher=Cartoon Brew |access-date=19 February 2016 |date=2 December 2011
}}
* {{cite magazine
|last=Ball
|first=Ryan
|title=Oldest Animation Discovered in Iran
|url = http://www.animationmagazine.net/features/oldest-animation-discovered-in-iran/
|magazine=Animation Magazine
|access-date=15 March 2016
|date=12 March 2008
}}
* {{cite web
|url = http://www.cartoonbrew.com/cgi/a-little-more-about-disneys-paperman-63782.html
|title=A Little More About Disney's "Paperman"
|last=Beck
|first=Jerry
|date=2 July 2012
|publisher=Cartoon Brew
}}
* {{cite web
|url = http://www.awn.com/mag/issue1.4/articles/bendazzi1.4.html
|title = The Untold Story of Argentina's Pioneer Animator |publisher=Animation World Network
|last=Bendazzi
|first=Giannalberto
|year=1996
|access-date=29 April 2016
}}
* {{cite web
|url = http://www.boi.gov.ph/pdf/valuepropositions/Animation/Animation.pdf
|title=Animation
|date=November 2009
|access-date=24 July 2012
|website=boi.gov.ph
|publisher=Board of Investments
|url-status=dead
|archive-url = https://web.archive.org/web/20121019232801/http://www.boi.gov.ph/pdf/valuepropositions/Animation/Animation.pdf
|archive-date=19 October 2012
|ref = {{SfnRef|Board of Investments |2009 }}
}}
* {{cite web |url = http://academic.evergreen.edu/curricular/eat/handouts/Pictures/CutSandPaintRules.pdf |title = Experimental Animation Techniques |year=2003 |last=Brown |first=Margery |access-date=11 November 2005 |publisher=Evergreen State Collage |location=Olympia, WA |url-status=dead |archive-url = https://web.archive.org/web/20080307025951/http://academic.evergreen.edu/curricular/eat/handouts/Pictures/CutSandPaintRules.pdf |archive-date=7 March 2008 }}
* {{cite magazine
|last=Carbone
|first= Ken
|title=Stone-Age Animation in a Digital World: William Kentridge at MoMA
|url = http://www.fastcompany.com/1561390/stone-age-animation-digital-world-william-kentridge-moma
|magazine=Fast Company
|access-date=7 March 2016
|date=24 February 2010
}}
* {{cite magazine
|last=Haglund
|first=David
|title = The Oldest Known LEGO Movie
|url = http://www.slate.com/blogs/browbeat/2014/02/07/lego_movie_brickfilms_go_back_to_1973_watch_the_very_first_video.html
|magazine=Slate
|access-date=25 February 2016
|date=7 February 2014
}}
* {{cite web
|url = http://www.theheritagetrust.wordpress.com/2012/07/25/worlds-oldest-animation
|title = World's Oldest Animation?
|publisher=The Heritage Trust
|website=theheritagetrust.wordpress.com
|date=25 July 2012
|ref = {{SfnRef|The Heritage Trust|2012 }}
|url-status=dead
|archive-url = https://web.archive.org/web/20151022192615/https://theheritagetrust.wordpress.com/2012/07/25/worlds-oldest-animation/
|archive-date=22 October 2015
}}
* {{cite web
|last = Kenyon
|first = Heather
|title = How'd They Do That?: Stop-Motion Secrets Revealed
|url = http://www.awn.com/animationworld/howd-they-do-stop-motion-secrets-revealed
|publisher=Animation World Network
|access-date=2 March 2016
|date=1 February 1998
}}
* {{cite web
|last=Nagel
|first=Jan
|title = Gender in Media: Females Don't Rule
|url = http://www.awn.com/animationworld/gender-media-females-dont-rule
|publisher=Animation World Network
|access-date=3 March 2016
|date=21 May 2008
}}
* {{cite news
|last=McDuling
|first=John
|title = Hollywood Is Giving Up on Comedy
|url = https://www.theatlantic.com/entertainment/archive/2014/07/the-completely-serious-decline-of-the-hollywood-comedy/373914/
|access-date=20 July 2014
|work=The Atlantic
|publisher=The Atlantic Monthly Group
|date=3 July 2014
}}
* {{cite web
|last=McLaughlin
|first=Dan
|title = A Rather Incomplete But Still Fascinating
|url = http://animation.filmtv.ucla.edu/NewSite/WebPages/Histories.html
|website = Film TV
|publisher=UCLA
|year=2001
|archive-url = https://web.archive.org/web/20091119055944/http://animation.filmtv.ucla.edu/NewSite/WebPages/Histories.html
|archive-date=19 November 2009
|access-date=12 February 2013
}}
* {{cite web
|last = O'Keefe |first = Matt
|url = http://www.themeparktourist.com/features/20141110/29600/6-major-innovations-sprung-heads-disney-imagineers
|title = 6 Major Innovations That Sprung from the Heads of Disney Imagineers
|publisher=Theme Park Tourist
|access-date=9 March 2016
|date=11 November 2014
}}
* {{cite magazine
|last=Watercutter
|first=Angela
|url = https://www.wired.com/2012/05/phil-tippett-feature/
|title=35 Years After Star Wars, Effects Whiz Phil Tippett Is Slowly Crafting a Mad God
|magazine=Wired
|date=24 May 2012
|access-date=6 February 2016
}}
* {{cite magazine
|url = http://www.vanityfair.com/culture/2010/03/disney-animation-girls-201003
|title=Coloring the Kingdom
|last=Zohn
|first=Patricia
|date=28 February 2010
|magazine=[[Vanity Fair (magazine)|Vanity Fair]]
|access-date=7 December 2015
}}
* {{cite web
|title = Walt Disney's Oscars
|url = http://www.waltdisney.org/blog/walt-disneys-oscars%C2%AE
|date = 22 February 2013
|publisher = The Walt Disney Family Museum
|access-date = 22 February 2016
|ref = {{SfnRef|Walt Disney Family Museum|2013}}
|archive-url = https://web.archive.org/web/20150322054517/http://www.waltdisney.org/blog/walt-disneys-oscars%C2%AE
|archive-date = 22 March 2015
|url-status = dead
|df = dmy-all
}}
* {{cite web
|title = Władysław Starewicz – Biography
|url = http://culture.pl/en/artist/wladyslaw-starewicz
|website=culture.pl
|date=16 April 2012
|publisher=Adam Mickiewicz Institute
|access-date=9 February 2016
|ref = {{SfnRef|Adam Mickiewicz Institute|2012}}
}}
{{refend}}
 
==External links==
{{Library resources box
|by=no
|onlinebooks=no
|others=no
|about=yes
|label=Animation }}
* [http://www.sparetimelabs.com/animato/animato/cartoon/cartoon.html The making of an 8-minute cartoon short]
* [https://web.archive.org/web/20091001071111/http://www.nfb.ca/film/animando_english/ "Animando"], a 12-minute film demonstrating 10 different animation techniques (and teaching how to use them).
* [https://www.histv.net/animation Bibliography on animation – Websiite "Histoire de la télévision"]
* {{curlie|Arts/Animation}}
{{sister bar|auto=1|wikt=animation}}
{{Animation}}
{{Film genres}}
 
{{Authority control}}
 
{{DEFAULTSORT:Animation}}
[[Category:Animation| ]]
[[Category:Animation| ]]
 
[[Category:Cartooning]]
{{simple-Wikipedia}}
[[Category:Articles containing video clips]]
[[Category:Film and video technology]]
Retrieved from "https://en.bharatpedia.org/wiki/Special:MobileDiff/329342"