animation

National Style

Although the Wans seem to have been influenced by Western content, they were intent on establishing a _____ style, which they felt would help them confront the dominance of work from the United States in particular.

Socialist Realism

As of 1934, [Socialist Realism] had been the required style of Soviet art, since it was compatible with the government's efforts to educate and inspire the masses and to impart a sense of national pride and identity.

Jackson Pollock

Associated with abstract expressionism in painting, which combined abstract imagery with artist-centered creative processes linked to the unconscious

Ray and Charles Eames

Associated with furniture design that is clean, functional and streamlined

Francois Truffaut

Associated with the auteur theory in film, which holds that a film's style is the direct result of the director's vision

art school

At one time, animators had learned their craft through an apprenticeship at a studio, but during the 1930s, more of them had an [art-school] education.

Chuck Jones

Designed functional backgrounds for animations that used form and color as vital components

pixilation modified base variable speed

During his time at the NFB, Norman McLaren experimented with and mastered several techniques, including drawing, painting, and scratching on film; [pixilation] (animation created using the movements of animate figures, usually people, photographed in increments); [modified base] techniques (drawing, erasing, and redrawing on a single surface [variable speed] shooting (generally, filming and acting in slow motion and then projecting the footage back at normal speed); optical printing; and stereoscopy.

zagreb school

During the 1950s, the so-called "Zagreb school]" of animation became recognized for its artists' use of a modern-art style and subject matter that was geared toward mature viewers.

soyuzmultfilm

During the Soviet era, [soyuzmultfilm] animators were paid by the government in the same way as any other workers, and it did not matter if their films were commercially viable or not.

Gyorgy Kepes

He wrote a textbook that explained how simple, formal design was like a universal visual language

Wan

In 1950, after the Northeast Film Studio was reorganized as the Changchun Film Studio, its animators were relocated to Shanghai, and seven years later, the Shanghai Animation Film Studio was officially founded. Eventually, the [Wan] brothers joined the prestigious studio, which aimed to create films that were entertaining, educational, and Chinese in character.

modern design

In the 1950s, UPA also made a great impression on the animation world,7 one that reflected the involvement of its three founders in [modern design] and the desire to provide an alternative to the social, industrial, and artistic modes that American animation had fallen into.

Noh

Japanese drama that appealed to the nobles and samurai was for the upper class of society and so more reserved, embracing themes related to moral values and spirituality.

Benshi

Japanese performers who provided live narration for silent films from the late 1890s into the 1930s.

ink brush

Other noteworthy examples from the studio include the film Where's Mama?, (1960), directed by Te Wei and Qian Jajun, using the Chinese [ink brush] style, adapted for use in animation.

Momotaro

Peach Boy two of Japan's well-known cel-animated films from the World War II-era feature the fabled character [Momotaro] (Peach Boy), who was born from the pit of peach and found by an elderly couple.

Sun Wukong, the Monkey King

Princess Iron Fan tells the story of the Monkey King, named [Sun Wukong], who is not only fast and super intelligent but also able to transform into many different beings.

Animal Farm Halas and Batchelor

The Central Intelligence Agency (CIA) in the US supported the production of the studio's feature of 1954, [Animal Farm], although the money was filtered through a producer named Louis de Rochement, so that the directors, [Halas and Batchelor], did not know of the CIA's involvement.

Princess Iron Fan Journey to the West

The film, [Princess Iron Fan], is based on a character from the well-known story [Journey to the West], written by Wu Cheng'en in the sixteenth century (Ming Dynasty).

Noh

The origins of the puppet film House of Flame, which tells the story of a serene young woman who is loved by two jealous suitors, can be traced to the [noh] play Motomezuka (The Seeker's Mound), written by Kan'ami Kiyotsugu in the late fifteenth century.

cultural imperialism cutouts

The positive reception that Disney and Fleischer's productions had enjoyed worldwide had by that time (1936) created a kind of [Cultual Imperialism] by setting a stylistic standard that others sought to match; as a result, the tendency for Japanese artists to use stop-motion [Cutouts] was criticized as old-fashioned.

silhouettes flattened diagrammatic

UPA's aesthetic is apparent even in its early works. For example, through the use of [silhouettes], [flattened] space, and [diagrammatic] images, A Few Quick Facts: Fear explains that fear is a normal reaction and that the body is prepared f

Gyorgy Kepes functionality

[Gyorgy Kepes]_'s publication of 1944, Language of Vision, made a significant impact on the American postwar art world and the role of the designer in it. Analyzing line, form, and perspective as a visual language that impacts on human consciousness, the book proposed new ways of creating dynamic images while still emphasizing [functionality].

Noburo Ofuji chiyogami silhouette

[Noburo Ofuji] became known for cutouts made of traditional Japanese [chiyogami] paper. In his film Kujira (The Whale, 1927), however, he used a different approach to tell the story of some arguing shipwrecked passengers: [silhouette] animation, which he created after he saw examples of such work from Europe.

Tadahito Mochinaga amanojaku

[Tadahito Mochinaga]'s first puppet film in Japan was released in 1956: Uriko Hime to Amanojaku (Melon Princess), a traditional story about a girl born from a melon and her encounter with an [B], or demon.

Bunraku

a form of puppet theater that relates legendary and historical stories, many of which were written by the great Japanese dramatist Chikamatsu Monzaemon

Kabuki

a type of Japanese drama in which music, dance, and mime are used to present stories. Tends to be more boisterous, incorporating loud dialogue, dance, and stories about passion and morality Aimed at farmers, merchants, and common folk