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"If this business was easy, it would be a sin."

-Hayao Miyazaki, Animerica Magazine. 1993


Animation is the youngest medium of art that mankind has created. Spanning barely over one hundred years, its history is as rich and dramatic as any other. Starting as the simple idea of an illusion of moving art by a couple clever innovators at Edison's film company in the early 1900's, it soon boomed into a mega-corporate commercial venture that employed thousands and captivated millions only decades later. It spread outside of America and took many different forms in many different countries and cultures. Today, the face of animation is very different than it ever was. Computers, corporate chokeholds and the death of the innovators of animation has left a doubtful future for the preservation of animation's defining age.

The 1910's saw the rise of animation as a serious medium and the first studios began to appear in the United States. Winsor McCay, a masterful draftsman and artist, had created two cartoons with ink on rice paper - "Little Nemo" in 1911 and "Gertie The Dinosaur" in 1916, which contained over 10,000 individual drawings. Unlike the largely experimental and detached experiments in animation before them, McCay's cartoon creations had a sense of weight and character to them, and they captivated audiences wherever he showed them. Knowing it was unrealistic for one person to create these on their own time repeatedly, studios began to make their way into the limelight. Fleischer Brothers, Terrytoons, Warner Brothers, MGM, Disney, and Leon Schlesinger to name a few.

For 50 years animation flourished as an art form. It was unhinged and wild, allowing its creators to put to work anything their imaginations were willing. The artists ran the show - it wasn't about the money, it was about the story. The spectrum of animation being produced ranged from the wildly bizarre,  akin to Bob Clampett's "Porky In Wackyland" (1938), where the audience takes witness to Porky Pig's oncoming insanity - to silent and stirring social commentaries like "Black & White" (1933), a short music-driven cartoon by Ivan Ivanov-Vano dealing with racism. Their styles differed from the simple, yet smart designs of from Pat Sullivan's 1920's studio with characters like Felix the Cat, to the painstakingly detailed epic worlds of Walt Disney's money-eating venture in films like "Fantasia".

The mid-20th century saw the peak of animation - often referred to as the "Golden Age". Warner Bros. Animation Studio led the way with timeless classics of quality not often found in your average Saturday Morning programming. "[It was the] Golden Age for [Warner Bros. Director] Chuck Jones: A time for fully realized characters in ideally told tales so brief and ingenious in their structure it could take the breath away, and yet so disarmingly simple that even adults could understand them." (Beck, 124). Their success was attributed to their teamwork - a group of artists working together under one roof. "His team had worked so long and well together that they could very nearly finish each other's sentences." (Beck). Many cartoons created during this era are heralded as the best of all time, 1957's Chuck Jones' short "What's Opera, Doc?" being chosen #1 in animation historian Jerry Beck's book "The 50 Greatest Cartoons: As Selected by 1,000 Animation Professionals" in 1994.


To their creators, the drawings in their cartoons were actors, not symbols (Barrier, 539.) They all believed that what they were doing had a purpose void of material gain or profit. Walt Disney, founder of the Walt Disney Company and director of many of the earlier films in their canon said, "I have had a stubborn, blind confidence in the cartoon medium, a determination to show the skeptics that the animated cartoon was deserving of a better place, that it was more than mere 'filler' on the program, more than a novelty, that it could be one of the greatest mediums of fantasy and entertainment." (Solomon). To this affect, cartoons and animation had successfully saturated themselves in the imaginations of millions of Americans. Characters like Mickey Mouse, Felix The Cat and Bugs Bunny became instantaneous household names in an era when mass communication was a luxury. To this end, animation naturally began to spread beyond the borders of the United States.

As early as the 1930's, Russia, Germany and France were creating animations. By the 1960's, animation was flourishing worldwide as well. In March 1956, Japan's first major animation studio Toei is founded on the principal of being the "Disney of the East" (Beck, 181). It still exists today. Even further East, China's Shanghai Film Studio created many award-winning animated classics that were culturally relevant and captured their society's imagination. Many other nations housed successful studios as well, including but not limited to Poland, Bulgaria, Czechoslovakia, Estonia and the United Kingdom. All these studios took their cues from American models and adapted them over time to fit their styles, cultures and methods of storytelling.

However - as with all new media - as animation began to penetrate society and bring about a new way of delivering a message to people, some people felt threatened and intimidated by this sudden wave of information in a format unfamiliar to them. Some also  felt threatened by the people responsible for the content. While the 50's and 60's were the Golden Age for animators, it was also the beginning of a dark age.

Post-WWII America brought about the Cold War and the fear of Communism. In the 1950's, the Communist Party of America had reached its peak of 50,000 members. Propaganda and fears of the "nuclear winter" prompted a federal breach in American political freedom as the United States government created the House Representative's Committee on Un-American Activities. Tasked in finding high-profile Communist Party members, the "Hollywood Blacklist" was created in order to weed them out and ruin their careers. Often with little or no evidence, entertainment employees would often disappear from payrolls without notice (Barrier, 539).  One studio that suffered from this was United Productions of America. Major UPA writers Phil Eastman, Bill Scott and John Hubley were accused of being Community party supporters and subsequently blacklisted. Hubley was the only one with legitimate party ties. Either way, the actions of the investigation severely damaged the work ethic and spirit of the studio, and UPA stopped producing cartoons in 1959.

Another blow to the animation industry were lobbyist groups to censor and regulate the diverse animation industry. While many cartoons were for children and adults alike, rising animators like Ralph Bakshi were "reminding audiences that cartoons are not just for children", creating the first X-rated animated feature films. By the 1970's, "[the] triumph of various parent groups in their efforts to strip all of the fun from cartoons [had succeeded], essentially removing all slapstick action comic violence, injecting educational and pro-social messages into the narratives." (Beck, 246.) Cartoons had been reduced to a "Saturday morning ghetto" (Beck) with shallow, childish stories.

The drop in production quality was not singularly tied to censorship. The businessman duo gone animation studio Hannah Barbera had begun to mass produce cartoons in a factory-line type process known today as limited animation, a practice in what animator Anne Joliffe described fondly as akin to "bottling pickles". Reused backgrounds, walk cycles and animated sequences saved the studios a lot of money. These major cost-cutting practices were appealing to the ever-growing broadcasting networks that distributed animated material. Studios like Warner Brothers became less enchanted with the higher budgets they used to give their teams, and as the 3D-glasses craze swept film, WB Animation quickly flickered and died. On top of the domestic money saving techniques, outsourcing most of the work overseas to Japanese and Australian studios kept an even tighter budget at the expense of animation jobs. Because of these circumstances, the 1970's had a sharp contrast to the cartoons of the previous decade. Characterized by cheap production values, stiff animation and weak writing at the expense of not offending any audience, most cartoons of this era had little staying power and are long forgotten. As the mid-1990's approached, only Dreamworks and Disney remained from the wake of the oppression of animation, as Richard William's 29-years-in-the-making masterpiece Thief and the Cobbler was seized by Warner Studios and sent off to Korea for a swift video release.

While American animation suffered at the expense of corporate interests, foreign animation continued to thrive - especially Japanese animation. The fundamental difference between American and Japanese studios were the people in charge. While NBC, ABC and the major broadcasting networks left artists at the mercy of corporate changes, Japanese studios kept the artists in charge of the business. Over time, certain directors made their way from television to theatrical releases. One of them was Hayao Miyazaki, arguably Japan's most prominent director in their history. Japan's film industry is dominated by anime, and it shows in box office numbers.

Japan did suffer from the same stereotypes of animation for a time, but Miyazaki's films bridged the gap between general audiences of adults and children. With Miyazaki on the front, anime from comic books to animation exploded in Japan as the most popular medium for storytelling - and something was available for every age group. Rumiko Takahashi, creator of some of Japan's top selling manga such as Ranma ½ and Uresei Yatsura, is the prime market for young girls. Yoshiyoki Tomino, creator of the Gundam series which sparked a mecha/space opera craze, grabbed a large audience of adult males. These are only a few examples of the explosion of modern animation and art culture in Japan, which has only grown in the last 40 years - similar to the growth of American animation at its birth.

Unafraid to express his creativity and not bound by any restrictions, Miyazaki thrived in Japan as Chuck Jones did during the Golden Age of Warner Brothers. "How can we make films which will gain the acceptance of those people who've never seen animation before? We need to get near to that universal appeal of animation when making a movie, or all our efforts will have been for nothing." (Fuiji, 27). Part of his and other's success was also the lack of creativity in the live action film industry. "I never trust the response of industry people. They're too conservative. They've always been behind the times. If industry people knew what they were talking about, the movie business wouldn't be on the decline like it is." (Fuiji).

But as time went on and the American animation industry continued to falter, as did Japans. Animators had fought several battles in the states to get their jobs back, turning a once stable job into a rollercoaster of stunted projects and short contracts from corporations interested in creating a product, not a film. This turned American animators from a few teams of people who worked together into a travelling band of starved talent fighting for quick fixes and a short term creative injection. Like a sick patient dependent on manufactured pharmaceuticals to sustain itself, major American broadcasting networks have made animation teams wholly dependent on their brief inoculations of cartoon projects, stifling the creative process and everything that made the studios of the Golden Age successful (and profitable.)

How this affected Japanese animation is simple - its existence is dependent on its predecessors. Yoshiyoki Tomino of Gundam was inspired by American sci-fi. Rumiko Takahashi of Ranma½, Spiderman. Yukito Kishiro of Battle Angel Alita, Frank Miller's Batman. Like Toei Animation's goal to be the "Disney of the East", Japanese pioneers of anime were first inspired by American counterparts. Since then, they have taken on their own look, and on the flip side American cartoons began to take on their looks as anime crept its way on the airwaves.

Recently, Japan's own Golden Age is beginning to show signs of trouble in a different fashion. While America feels creatively bankrupt, animators in Japan have felt that they are beginning to run out of ideas. Mamoru Oshii, an animation director, said that "animation studios are surviving, animators are getting better paid, but the quality of new works is not improving. On the surface, it's thriving, but in reality, there's very little new happening." (Saito). This issue is perhaps related to the aging group of Japan's flagship of anime pioneers - similar to the plight of American animation pioneers unwillingly succumbing to mega corporations and the conveyor-belt cartoons of the 70's.

Hayao Miyazaki is now nearing 70 years old. Oshii states in the same interview; "From a directors' viewpoint, we cannot expect anything new from Miyazaki. He is like a very old man, almost retired now." Even Miyazaki has expressed his doubt in the generation that precedes him - and not just in Japan. "I don't know how much the people in Hollywood actually believed in [loving film]. Personally, they were probably more concerned with getting a home in Beverly Hills. But at one time, that illusion held sway throughout the world. It's become too difficult to even pretend you believe in that anymore. The goal now is to throw a huge amount of money at a project, do a huge promotion, and mobilize a huge number of viewers."

While Japan's market suffered from more of the same, American studios follow the model Miyazaki explained. A good example was Disney under the reigns of Eisner in from the mid-1990's to the early 2000's. As Eisner saw Disney's toy and product profits soar, films were chosen for production based on their value to toy manufacturers such as Hasbro, instead of their appeal to audiences. As the animation became more about selling a product, Disney began to struggle to captivate its audiences. Roy Disney, upon retiring in 2003, described Eisner's Disney as "soul-less."

After the production of "Brother Bear", Eisner closed Disney's 2D Florida studio and fired nearly every 2D production animator and artist, proudly boasting that "2D is dead." Not soon after, Eisner was pressured to step down as CEO, and did so. However he left in his wake the near destruction of Walt Disney, a company founded on the principle that animation should be treated as a gift, in the name of greed and maximizing profits. To stay afloat, Disney would eventually purchase Pixar studios, whose business model headed by John Lasseter would save the wavering animation giant for the time being.

Although it is not a question of whether if cartoons will survive but how, it's important to see how the industry has come to this point. There are two parts to the cycle of animation - the boom of creativity when artists are free to be artists, and the busts, when money takes the reins and the artists - and their creations - suffer. And while cartoons may seem different from border to border, at their core they are the same stories, the same visions and the same artists, simply wishing to create their visions through the illusion of life through art. When one part of the body is sick and isn't treated, it slowly creeps its way throughout.

American animation being treated as a gimmicky sideshow for advertising and web-based series reminiscent of the "bottled pickles" of the 70's is slowly beginning to cripple cartoons big and small. Those who have innovated before us are starting to see it. And while times have changed, the one thing animators today have to learn from those before them is that the animation business is not easy. If animation is as powerful as its creators believed it were, it can triumph over greed, fear and soulless mass production like it has before.

In animation's young history, there has never been a more urgent time than now for the next generation of animation pioneers to follow in the fearless footsteps of its creators. While some are aware of this urgency, most never consider the dedication of animators and the imaginative worlds they have given to mankind. Their work will never fade, but time marches on, and as they pass on they leave a void. The digital age has made it easy to take for granted the work of animation past, and those times will likely never be re-lived. But if we listen to their words and take their spirit to heart, animation will thrive and live again in a new era.


Works Cited
1. Fuiji, Narita, Ledoux, Davis et al. Anime Interviews: The First Five Years of Animerica. Cadence Books, 1997.
2. Barrier, J. Michael. Hollywood Cartoons: American In Its Golden Age. Oxford University Press, 1999.
3. Beck, Jerry. Animation Art. Harper Collins, 2004.
4. Charles, Solomon. Enchanted Drawings: The History Of Animation. Knopf, 1989.
5. Lotman, Jeff. Animation Art: The Early years, 1911-1953. Schiffer, 1995.
6. Kelts, Ronald. Japanamerica: How Japanese Pop Culture Has Invaded the U.S. Palgrave Macmillan, 2007.
7. "Anime's future world: Japanese filmmakers give the genre a hard look" Los Angeles Times. 28 Mar. 2005. C7
8. Sprang, K. "History of Walt Disney's Mickey Mouse." Pagewise. <www.essortment.com/all/mickeym…>
9. Macdonald, Christopher. "Silly Otaku, Cartoons are for Kids." Anime News Network. 30 Oct. 2001. <www.animenewsnetwork.com/edito…>
10. Kenji, Saito. "Media in Asia." Kyoto Journal. 2001. <www.kyotojournal.org/media/ani…>
the original title of this was Animation Divided Dies: The Cruel Coexistence of Art and Money. I wrote it a few months ago for a final paper. But I have renamed it to The Life of Animation, which i think is an equally fitting and more spirited title for this.

if you were ever curious about a breif history of animation, how it evolved, survived, and what's happening to it today, i hope this writing is of interest to you. it presents some of the problems with today's animation industry, and why i think it's important for animation to exist.
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:iconspycat109:
spycat109 Featured By Owner Feb 17, 2015  Hobbyist General Artist
This was a great article thanks for posting it. :heart:
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:iconguidodinho:
Guidodinho Featured By Owner Jan 2, 2015
Really nice read, didn't quite expect it. Had a nice build-up and flow in it. I just checked the GIF and title and looked at the text bellow (just to know what was the point to that GIF was). And before I knew it, I just went and  myself read an article.

Also quite bittersweet: Horrible how it is that 2D animation is crippled so hard today because (like with most art-forms and industries,) the big money eventualy steers the metaphorical ship into a smelly shit-ocean.
But I'm also quite hopefull, because today (with our mass communication and stuff) it's easier to step into animation (you pretty much just need a computer and you're good to go and learn yourself a whole new discipline). And if you love it and stick with it long enough, you just might become a legend on the internetz (like my greatest animation hero today Harry Partridge).

Just too bad that 2D has so much trouble to become something big-scaled today. But under the surface of the big money lies a whole bunch of possibilities of people who want to make cool cartoons and can do just that.
But I don't think 2D animation will die anytime soon. It has become kind of obsolete and dead in the whole bussiness world. But as long as there are people who want to make a drawing and make it move (wether it's for something great or just for shits and giggles) it will stay alive and kickin.
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:iconrtil:
rtil Featured By Owner Jan 2, 2015  Professional General Artist
it's doing well in the games industry and on the internet in limited aspects, which is something. it will always find a way to survive. it's just in an unfortunate position.
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:icontom1947:
Tom1947 Featured By Owner Aug 21, 2014

      Rtil, I have always enjoyed animation in general and I certainly consider it to be an art form.  You have presented an idea that I never considered very carefully that is how and why animation has developed and changed, so I’m glad you wrote this.  Personally I tend to enjoy images, visual and audio (usually music) in animation as well as other forms of films.  I also pay attention to the backgrounds of animated films.  I was glad you mentioned “Fantasia” which is my favorite film of all time.  I feel that “Fantasia” is primarily about images and I enjoy the images in that film.  I do tend to prefer animation that is hand drawn or at least appears to be hand drawn, although I feel that some of Disney’s new films such as the Tinkerbell films are beautiful even though they do not seem hand drawn to me.  I am not too knowledgeable about Japanese animation.  It seems to me that one of your points is a problem with art, particularly animation and other films being the conflict between the artistic side including experimentation and the money side.  I hope I’m not misreading you.

      I have written 16 (so far) essays dealing with art history and centering on women artists.  You may be interested in one of my essays entitled Lotte Reiniger who was an early female pioneer in animation starting in 1919.

      Tom,

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:iconrtil:
rtil Featured By Owner Aug 22, 2014  Professional General Artist
thanks for your thoughts, Tom. i think 3d and 2d can work together to create beautiful animation, the Japanese are becoming masters at this, but sadly the American way of thinking is that 2d is "dead", ignoring the foundations of animation and i believe it will be disastrous for future generations because of the lack of opportunity and a proper teaching for them. Americans have a lot to learn from the Japanese animation industry.
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:iconangelkitty074:
angelkitty074 Featured By Owner Aug 20, 2013
gosh, this is great!! i was so enthralled that i didn't realize i was reading a school essay until like halfway thru |D great info too!!
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:iconrtil:
rtil Featured By Owner Aug 20, 2013  Professional General Artist
thanks! :D
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:icondanielcalvin:
DanielCalvin Featured By Owner May 20, 2013
WOW i'm just read it,
I think it's true that money have a lot of power in this era, and i think there is a few animation that truly can blow my mind away.

and i just see your gallery and you have some of animation folder, you are animator too, right?
what do you think about every young wannabe animator these day? what must they do to not care about money, so they can focus in their creativity?

Sorry for my bad english :)
but i love your article :D
Reply
:iconrtil:
rtil Featured By Owner May 20, 2013  Professional General Artist
yes i am an animator. we all need money to live, but if you are animating for money and not because you love it, then you are doing it for the wrong reasons.
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:icondanielcalvin:
DanielCalvin Featured By Owner May 20, 2013
I agree with you :D

iam 2d artist for game studio, and i very often debate with my boss about CG and 3D. He said that CG/3D is always the best than 2d or traditional animation. but i think the good animation is not what style they use (3d, 2d, etc) it's base on character, storytelling. because i'm a person that not enjoy the animation or film just from they graphic.
Sometime i'm really upset about how people praise the highly awesome graphic :(

anyway,what do you think?
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:iconrtil:
rtil Featured By Owner May 21, 2013  Professional General Artist
they both have their advantages and disadvantages. the two can even mix well together now. a versatile artist should know both, but you can't have good 3d art without first knowing 2d art well.
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:icondanielcalvin:
DanielCalvin Featured By Owner May 21, 2013
Again, i agree with you :D

i can say that you are not a person that says 3d is always in the top of 2d, am i right?
you're neutral, i think you're truly an artist :D

Thank you for your article and your responses. i look forward for your next art :D
and feel free to look my gallery :)
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:iconrtil:
rtil Featured By Owner May 22, 2013  Professional General Artist
i think they are both equally valid. but it all starts with pencil and paper :)
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:icondanielcalvin:
DanielCalvin Featured By Owner May 22, 2013
agreed :D
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:iconfakekraid:
FakeKraid Featured By Owner May 9, 2013  Hobbyist Writer
This is an informative and interesting article! The only correction I have to offer is that animation is not the youngest medium of art that man has created, even if we're only talking about successful and widespread ones. That would be video games.
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:iconrtil:
rtil Featured By Owner May 10, 2013  Professional General Artist
i don't know if i really count video games, not because it isn't art, but because games already existed before they were put into a digital medium
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:iconfakekraid:
FakeKraid Featured By Owner May 10, 2013  Hobbyist Writer
Hmm. I suppose that is a point worth considering. But on the other hand, the sheer increase in complexity and scope in the format of games purely as games increased by so many orders after the advent of computer games that it made fundamental and radical changes to the way we design and experience them. I'm not sure there really is a right answer there, though; it's worth some thought, at any rate.
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:iconspiritauraforce:
SpiritauraForce Featured By Owner Jan 25, 2013
What was the clip you use with the bunny girl?
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:iconrtil:
rtil Featured By Owner Jan 25, 2013  Professional General Artist
Reply
:iconcrashoftheeggfaces:
crashoftheeggfaces Featured By Owner Sep 22, 2012
Nice 8)

So true in every way of what animation is/has become. though what about video games? doesn't that fall in the same kind of category more or less?
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:iconrtil:
rtil Featured By Owner Sep 24, 2012  Professional General Artist
it's related but the video game industry is much younger
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:iconsamanthuel:
Samanthuel Featured By Owner Aug 13, 2012  Hobbyist Traditional Artist
Lovely!
Informative and pointed. Thank you.

Out of curiosity, have you ever seen 'The thief and the Cobbler: Recobbled'?
It is a fan made compilation of discarded clips, reels, and images made in accordance with Richard William's storyboards.
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:iconrtil:
rtil Featured By Owner Aug 16, 2012  Professional General Artist
yes. they're doing another one with even more footage, too. you can definitely tell richard williams was not very good at pacing, some scenes drag on for far too long. but it is beautiful.
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:iconsamanthuel:
Samanthuel Featured By Owner Aug 21, 2012  Hobbyist Traditional Artist
Really!? Very cool!

Agreed, heh heh.
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:iconmarmotteb:
marmotteb Featured By Owner Dec 22, 2011  Hobbyist
Very interesting ! Thank you for this study ! =)
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:iconsnapesoulmate:
SnapeSoulmate Featured By Owner Nov 27, 2011
mmmmm...It makes me sad... all kinds of animation are being tossed aside in favour of cheapo 3-D even Aardman (their studio is like right by my house :p) has stopped using clay animation with 'Wallace and Gromit' and resorted to 3D for 'Arthur christmas' all because the industry is in decline and are low on the money front. Although I don't want to see it because it just looks the same as any other movie in 3-D I might as well to try and help the industry....and thats the problem, with less money animation studios are bound to resort to cheaper methods....unless they come up with some thing completely original and refreshing they will be permanently stuck in the circle of hardship...not only financially but imaginatively
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:iconrtil:
rtil Featured By Owner Nov 30, 2011  Professional General Artist
well you have to remember after the last wallace and gromit the aardman studio had a fire and lost a lot of clay stuff. that probably influenced their decision to move to 3d. but i do hope they make another claymation someday
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:iconcocoru:
Cocoru Featured By Owner Oct 20, 2011  Hobbyist General Artist
I'm glad I'm not the only one who sees what is happening to animation. It's sad, and depresses me, but 2D will come back. 3D is too artificial, and when "Tangled" came out, all they tried to do is mimic the beauty of 2D animation. It will come back. Nothing can replace the beauty of an animator and his pencil.
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:iconrtil:
rtil Featured By Owner Oct 22, 2011  Professional General Artist
it is very true that nothing can replace its look. you can always see the quality of a true hand drawn image over a digital one.
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:iconscorium:
Scorium Featured By Owner Aug 10, 2011  Student Digital Artist
Animation is making a comeback, as people and businesses are starting to realize that the artist's freedom of creativity makes for a better viewing experience. A good example is CartoonNetwork's recent, and interesting additions to their lineup.

I don't watch TV much, if at all anymore, but the last time I looked, the animation quality has skyrocketed from the days of the now-hopefully-cancelled "Johnny Test"esk animations....BLECH. After Toonnami was over, CN sold itself out like a cheap whore.

Glad to know that interesting and quality 2D animation is returning a bit to mainstream television after such a dreadful hiatus of greed and stupidity perpetuated by big corporate fat cats with no artistic sense in them at all.
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:iconrtil:
rtil Featured By Owner Aug 12, 2011  Professional General Artist
things are on the upswing now, but when i wrote this it was a different story
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:iconscorium:
Scorium Featured By Owner Aug 13, 2011  Student Digital Artist
I figured, but I felt the need to rant any-who. :P
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:iconthatblue-bolt:
ThatBlue-Bolt Featured By Owner Aug 5, 2011  Student Traditional Artist
This was great to read and I feel privaleged to have the opportunity to. Plus, I love the " princess and the pauper" clip in the beginning! It was an interesting movie!
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:icondoktorrobot:
DoktorRobot Featured By Owner Mar 7, 2011
That was really lovely.

I'm not an animator, but the plight of animation and so many creative fields is an important one that you touched on very well.

Really, really nice work.
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:iconbluphoenix7:
BluPhoeniX7 Featured By Owner Feb 19, 2011  Student Digital Artist
yep i sure suck at writing papers but this is a pretty awesome example that i will try to learn from, onwards
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:iconaceal:
AceAl Featured By Owner Jan 24, 2011
My brain says thank you for this info.
Learning is life.
Life is learning.
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:iconrtil:
rtil Featured By Owner Jan 30, 2011  Professional General Artist
you're welcome
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:iconfrozen-sheep:
frozen-sheep Featured By Owner Mar 14, 2010
This both inspires and discourages me to finish my portfolio for the animation program I want to get into.
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:icongreat-emperor-steve:
Great-Emperor-Steve Featured By Owner Feb 17, 2010
Great work but the Japanese aren't doing as well as many think they would be. Piracy and fansubbings are destroying their profits. You can watch any anime you want for free on the internet. But this isn't the same problem American studios are having. I could go on with how the networks that provide animation are decaying but what's more important is:
What do we do to solve this problem?
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:iconrtil:
rtil Featured By Owner Feb 18, 2010  Professional General Artist
support the studios , buy & watch their shows
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:icongreat-emperor-steve:
Great-Emperor-Steve Featured By Owner Feb 18, 2010
I think there's more to it than that, like getting the industry run by artists and not execs, I mean if that was the case then shows such as invader zim wouldn't have been cancelled and Avatar's success would've gotten us more high budget shows.
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:iconrtil:
rtil Featured By Owner Feb 18, 2010  Professional General Artist
well of course it should be run by the artists. but there isn't much the average person can do about that.
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:icongreat-emperor-steve:
Great-Emperor-Steve Featured By Owner Feb 19, 2010
I'm still getting my degree but what can the non-average person do about it?
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:iconrtil:
rtil Featured By Owner Feb 20, 2010  Professional General Artist
what i said before
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:icongreat-emperor-steve:
Great-Emperor-Steve Featured By Owner Feb 20, 2010
so we can only hope good studios make good profit so artists can get back in control
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:iconrtil:
rtil Featured By Owner Feb 21, 2010  Professional General Artist
artists need to learn business so they can make their way up there. like lasseter did
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(1 Reply)
:iconsebbythefreak:
Sebbythefreak Featured By Owner Jan 7, 2010  Professional Filmographer
<3 Nothing to disagree in this.
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:iconmightybearrr:
mightybearrr Featured By Owner Dec 14, 2009  Professional Filmographer
but what can we do?
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:iconrtil:
rtil Featured By Owner Dec 14, 2009  Professional General Artist
a lot
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:icondietninja:
DietNinja Featured By Owner Dec 14, 2009   Writer
Wow, surprisingly informative; 'twas a fun read. Near the end though, the organization got a bit jumpy.

I have to say, from the perspective of someone like me who grew up in the 90's that this decade (uh... I guess you would call them the 00's?) has been pretty crappy for American cartoons. Adult Swim still has a few diamonds in the rough though (Venture Brothers comes to mind).
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