#DUCK IN A SUBMARINE CARTOON FULL#

More than 600 nominations were considered based on the criteria we established: Since this list is for an American audience, entries skew toward what influenced American animation to be eligible, sequences had to have been made available, at some point, to audiences in the U.S., whether in limited screenings, wide release, or bootleg importation. We arrived at our list after months of discussions and arguments among a brain trust of animation professionals, historians, and other experts. One hundred is a crushingly compact number of slots with which to encapsulate the totality of a medium.

This list is not intended to be comprehensive. From there, we address sequences in every decade well into our own era, touching on a range of formats, innovations, and historical moments, from the patenting of rotoscoping to the invention of the multiplane camera to the rise of anime and everything in between and after. The arc of this history begins in 1892, the year Charles-Émile Reynaud first used his Théâtre Optique system to screen his moving pictures - to our mind, the first animated cartoons ever produced - for the public (and long after the invention of the magic lantern). By focusing on sequences, we can let creators and their individual decisions shine in a way full-length works may not.

#DUCK IN A SUBMARINE CARTOON FULL#

Focusing on full cartoons would create a bias in the favor of studios with the resources to produce theatrical features - but history has shown that many landmark achievements in animation have been produced with a variety of budgets, formats, and lengths. We chose the deliberately flexible element of a “sequence” because it felt the most focused: It is often in one inspired moment, more so than a single frame or entire work, that we are able to see the form progress. To capture an idea of that power and to narrate its history, we have charted the evolution of animation by considering 100 sequences throughout the medium’s history. Today, vast audiences understand what artists like McLaren were observing: that the invisible holds a marvelous power over us. The characters and intellectual properties it has drawn into existence are as relatable as Daffy Duck and as lucrative as Mickey Mouse. The medium that began to crawl thanks to the live performances of inventor Charles-Émile Reynaud and illusionist Georges Méliès has now matured into a complex and diverse art form - one that has seen new processes and cultural innovations in every decade since its inception. Animated cartoons fool the brain into believing that static images can move characters are “brought to life” by putting pen to paper or finger to a computer’s trackpad.

That has largely remained true throughout the medium’s history, both frame by frame and over the course of a two-hour children’s movie. “Therefore, animation is the art of manipulating the invisible interstices between frames.” “What happens between each frame is more important than what happens on each frame,” the prominent experimental animator Norman McLaren (who makes the list with his short Neighbours, below) once explained. If you take an image of an open hand and an image of a fist and project the two in sequence, you’ll convey the illusion of a clench. It’s right there in the name of one of the earliest devices used to project slides: the magic lantern. It’s perfect for our readership – Dirty Duck is one of the most overlooked animated features of the 1970s, a glorious experimental mess of a film, which, from today’s vantage point, looks incredibly creative and daring, and something current Hollywood studios would never attempt.All animation, whether it depicts a whistling mouse, a walking dinosaur, or a leaping superhero, is a kind of magic trick. This trailer proved a little to hot for Joe’s domain so he’s graciously allowed Cartoon Brew to exclusively post it.

They’ve tackled animation only once before – Yellow Submarine (with comments by George Hickenlooper) which we linked to here back in April.ĭante produced one other animation trailer for the site, with director Mick Garris (Showtime’s Masters of Horror, HBO’s Tales From The Crypt) commenting on Chuck Swenson’s 1977 X-rated animated feature Dirty Duck (aka “Cheap”). Last year Joe Dante (Looney Tunes Back In Action) established a terrific website called Trailers From Hell, featuring audio commentary by several top genre directors (including John Landis, Stuart Gordon, Eli Roth, etc.) over some of their favorite vintage guilty-pleasure horror, fantasy and science fiction film trailers.

Duck in a submarine cartoon