World First Animation Movie

                                      Animation Movie

In 1906, Blackton also made the first drawn work of animation on standard film, Humorous Phases of Funny Faces. It features faces that are drawn on a chalkboard and then suddenly move autonomously. Fantasmagorie, by the French director Émile Cohl (also called Émile Courtet), is also noteworthy.

Animation refers to the creation of a sequence of images—drawn, painted, or produced by other artistic methods—that change over time to portray the illusion of motion. Before the invention of film, humans depicted motion in static art as far back as the Paleolithic period. In the 1st century, several devices successfully depicted motion in animated images.

An animated cartoon is a film for the cinema, television or computer screen, which is made using sequential drawings, as opposed to animations in general, which include films made using clay, puppet and other means.

Animation before film

Numerous devices that successfully displayed animated images were introduced well before the advent of the motion picture. These devices were used to entertain, amaze, and sometimes even frighten people. The majority of these devices didn't project their images, and accordingly could only be viewed by a single person at any one time. For this reason they were considered toys rather than devices for a large scale entertainment industry like later animation. Many of these devices are still built by and for film students learning the basic principles of animation

Thaumatrope (1824)

A thaumatrope is a simple toy that was popular in the 19th century. It is a small disk with different pictures on each side, such as a bird and a cage, and is attached to two pieces of string. When the strings are twirled quickly between the fingers, the pictures appear to combine into a single image. This demonstrates the persistence of vision, the fact that the perception of an object by the eyes and brain continues for a small fraction of a second after the view is blocked or the object is removed. The invention of the device is often credited to Sir John Herschel, but John Ayrton Paris popularized it in 1824 when he demonstrated it to the Royal College of Physicians.

Walt Disney & Warner Bros

In 1923, a studio called Laugh-O-Grams went bankrupt and its owner, Walt Disney, opened a new studio in Los Angeles. Disney's first project was the Alice Comedies series, which featured a live action girl interacting with numerous cartoon characters. Disney's first notable breakthrough was 1928's Steamboat Willie, the third of the Mickey Mouse series. It was the first cartoon that included a fully post-produced soundtrack, featuring voice and sound effects printed on the film itself ("sound-on-film"). The short film showed an anthropomorphic mouse named Mickey neglecting his work on a steamboat to instead make music using the animals aboard the boat.

In 1930, Warner Brothers Cartoons were founded. While Disney's studio was known for its releases being strictly controlled by Walt Disney himself, Warner brothers allowed its animators more freedom, which allowed for their animators to develop more recognizable personal styles.

The first animation to use the full, three-color Technicolor method was Flowers and Trees, made in 1932 by Disney Studios, which won an Academy Award for the work. Color animation soon became the industry standard, and in 1934, Warner Brothers released Honeymoon Hotel of the Merrie Melodies series, their first color films. Meanwhile, Disney had realized that the success of animated films depended upon telling emotionally gripping stories; he developed an innovation called a "story department" where storyboard artists separate from the animators would focus on story development alone, which proved its worth when the Disney studio released in 1933 the first-ever animated short to feature well-developed characters, Three Little Pigs In 1935, Tex Avery released his first film with Warner Brothers. Avery's style was notably fast paced, violent, and satirical, with a slapstick sensibility

Snow White and the Seven Dwarfs

Many consider Walt Disney's 1937 Snow White and the Seven Dwarfs the first animated feature film, though at least seven films were released earlier. However, Disney's film was the first one completely made using hand-drawn animation. The previous seven films, of which only four survive, were made using cutout, silhouette or stop motion, except for one—also made by Disney seven months prior to Snow White's release—Academy Award Review of Walt Disney Cartoons. This was an anthology film to promote the upcoming release of Snow White. However, many do not consider this a genuine feature film because it is a package film. In addition, at approximately 41 minutes, the film does not seem to fulfill today's expectations for a feature film. However, the official BFI, AMPAS and AFI definitions of a feature film require that it be over 40 minutes long, which, in theory, should make it the first animated feature film using traditional animation.

But as Snow White was also the first one to become successful and well-known within the English-speaking world, people tend to disregard the seven films. Following Snow White's release, Disney began to focus much of its productive force on feature length films. Though Disney did continue to produce shorts throughout the century, Warner Brothers continued to focus on shorts.

The television era

Color television was introduced to the US Market in 1951. In 1958, Hanna-Barbera released Huckleberry Hound, the first half-hour television program to feature only animation. Terrytoons released Tom Terrific the same year. In 1960, Hanna-Barbera released another monumental animated television show, The Flintstones, which was the first animated series on prime time television. Television significantly decreased public attention to the animated shorts being shown in theatres.

Indian Animation

The Indian animation industry encompasses both 2D traditional, and 3D animation, as well as visual effects for feature films. In 1956, Disney Studios animator Clair Weeks, who had worked on Bambi, was invited to Films Division of India in Mumbai to establish and train the country's first animation studio as part of the American Technical Co-Operation mission. He trained a core group of Indian animators, whose first production was a film called The Banyan Deer (1957). Veteran animator Ram Mohan started his career at Films Division's Cartoon Unit.

Another landmark animated film from Films Division is "Ek Anek Aur Ekta", a short traditionally animated short educational film released in 1974.[4][5] The film is presented as a fable meant to teach children the value of unity, and was frequently broadcast on India's state-run television station, Doordarshan. The first Indian animated television series is Ghayab Aaya, aired in 1986 and directed by Suddhasattwa Basu. The first Indian 3D and VFX was done for television series Captain Vyom by Animation.

The first Indian 3D animated film was Roadside Romeo, which was a joint venture between Yash Raj Films and the Indian division of the Walt Disney Company. It was written and directed by Jugal Hansraj

CINEMA SCOPE

CinemaScope is an anamorphic lens series used for shooting wide screen movies from 1953 to 1967. Its creation in 1953, by the president of 20th Century-Fox, Spyros P. Skouras, marked the beginning of the modern anamorphic format in both principal photography and movie projection.

The Robe was the first film to start production in CinemaScope, a project that was selected by Fox because of its epic nature. During production, two other films, How to Marry a Millionaire and Beneath the 12-Mile Reef went into production.

The anamorphic lenses theoretically allowed the process to create an image of up to a 2.66:1 aspect ratio, almost twice as wide as the previously common Academy format's 1.37:1 ratio. Although the CinemaScope lens system was made obsolete by new technological developments, primarily advanced by Panavision, the CinemaScope anamorphic format has continued to this day. In film-industry jargon, the shortened form, 'Scope, is still widely used by both filmmakers and projectionists, although today it generally refers to any 2.35:1, 2.39:1, or 2.40:1 presentation or, sometimes, the use of anamorphic lensing or projection in particular. Bausch & Lomb won a 1954 Oscar for its development of the CinemaScope lens.

A French inventor named Professor Henri Chrétien developed and patented a new film process that he called Anamorphoscope in 1926. It was this process that would later form the basis for CinemaScope. Chrétien's process was based on lenses that employed an optical trick which produced an image twice as wide as that produced with conventional lenses, using an optical system called Hypergonar, compressing (at shoot time) and dilating (at projection time) the image laterally. He attempted to interest the motion picture industry in his invention, but at the time the industry showed no interest. But by 1950 cinema audiences were declining due largely to competition from the new rival – television. However Cinerama and the early 3D films, launched in 1952, were defying this trend and seeing success at the box-office. This persuaded Spyros Skouras, the head of Twentieth Century-Fox , that technical innovation could help to meet the challenge. Skouras tasked Earl Sponable, head of Fox's research department, with coming up with a new, impressive, projection system, but something that, unlike Cinerama, could be retrofitted to existing theatres at a relatively modest cost - and then Herbert Brag, Sponable's assistant, remembered Chrétien's "hypergonar" lens

The optical company Bausch & Lomb were asked to produce a prototype "anamorphoser" (later shortened to "anamorphic") lens, meanwhile Sponable tracked down Professor Chrétien. By this time Chrétien's patent had expired, however Fox purchased his existing Hypergonars from him and these lenses were flown back to Fox's studios in Hollywood. Test footage shot with these lenses was screened for Skouras who gave the go ahead for the development of a wide-screen process based on Chrétien's invention, which was to be known as "CinemaScope".

Twentieth Century-Fox's pre-production of The Robe, originally committed to Technicolor Three-Strip origination, was halted so that the film could be changed to a CinemaScope production (using Eastmancolor, but processed by Technicolor). Two other CinemaScope productions were also planned: How to Marry a Millionaire and Beneath the Twelve-Mile Reef. So that production of these first CinemaScope films could proceed without delay shooting started using the best three of Chrétien's Hypergonars while Bausch & Lomb were still working on their own versions. With the introduction of CinemaScope, Fox and other companies would be able to re-assert its distinction from its new competitor – television.

As Chrétien's Hypergonars proved to have significant optical and operational defects (primarily loss-of-squeeze at close camera-to-subject distances, plus the requirement of two camera assistants), Bausch & Lomb, Fox's prime contractor for the production of these lenses, initially produced an improved "Chrétien-formula" adapter lens design (CinemaScope Adapter Type I), and subsequently produced a dramatically improved and patented "Bausch & Lomb formula" adapter lens design (CinemaScope Adapter Type II), and, finally, produced "Bausch & Lomb formula" "combined" lens designs, which incorporated both the "prime" lens and the anamorphic lens in one unit (initially in 35, 40, 50, 75, 100 and 152mm focal lengths, and later including a 25mm focal length). These "combined" lenses continue to be used to this day, especially in special effects units, although other manufacturers' lenses are often preferred for so-called "production" applications on account of their significantly lighter weight, or lower distortion, or a combination of both characteristics.

He is credited with producing many technological firsts in Telugu film Industry like the first Eastman color film Eenadu (1982), the first Cinemascope film (Alluri Seetharama Raju), first 70mm film (Simhasanam), first DTS film (Telugu Veera Levara) (1988) and introducing cowboy and James Bond styles to the Telugu .

History Of Cinema

Histroy Of Cinema

The history of film began in the 1890s, with the invention of the first motion-picture cameras and the establishment of the first film production companies and cinemas. The films of the 1890s were under a minute long and until 1927 motion pictures were produced without sound. The first eleven years of motion pictures show the cinema moving from a novelty to an established large-scale entertainment industry.

The films became several minutes long consisting of several shots. The first rotating camera for taking panning shots was built in 1897. The first film studios were built in 1897. Special effects were introduced and film continuity, involving action moving from one sequence into another, began to be used. In 1900, continuity of action across successive shots was achieved and the close-up shot was introduced. Most films of this period were what came to be called "chase films".

The first use of animation in movies was in 1899. The first feature length multi-reel film was a 1906 Australian production. The first successful permanent theatre showing only films was "The Nickelodeon" in Pittsburgh in 1905. By about 1910, actors began to receive screen credit for their roles, and the way to the creation of film stars was opened. Regular newsreels were exhibited from 1910 and soon became a popular way for finding out the news. Overall, from about 1910, American films had the largest share of the market in all European countries except France.

New film techniques that were introduced in this period include the use of artificial lighting, fire effects and Low-key lighting (i.e. lighting in which most of the frame is dark) for enhanced atmosphere during sinister scenes. As films grew longer, specialist writers were employed to simplify more complex stories derived from novels or plays into a form that could be contained on one reel. Genres began to be used as categories; the main division was into comedy and drama, but these categories were further subdivided. The years of the First World War were a complex transitional period for the film industry. The exhibition of films changed from short one-reel programmes to feature films. Exhibition venues became larger and began charging higher prices. By 1914, continuity cinema was the established mode of commercial cinema. One of the advanced continuity techniques involved an accurate and smooth transition from one shot to another.

D. W. Griffith had the highest standing amongst American directors in the industry, because of the dramatic excitement he conveyed to the audience through his films. The American Industry, or "Hollywood", as it was becoming known after its new geographical center in California, gained the position it has held, more or less, ever since: film factory for the world and exporting its product to most countries on earth. By the 1920s, the United States reached what is still its era of greatest-ever output, producing an average of 800 feature films annually,[1] or 82% of the global total (Eyman, 1997). During late 1927, Warmers released The Jazz Singer, the first synchronized dialogue (and singing) in a feature film. By the end of 1929, Hollywood was almost all-talkie, with several competing sound systems (soon to be standardized). Sound saved the Hollywood studio system in the face of the Great Depression (Parkinson, 1995). Thus began what is now often called "The Golden Age of Hollywood", which refers roughly to the period beginning with the introduction of sound until the late 1940s. The American cinema reached its peak of efficiently manufactured glamour and global appeal during this period. The top actors of the era are now thought of as the classic film stars, such as Clark Gable, Katharine Hepburn, Humphrey Bogart, Greta Garbo, and the greatest box office draw of the 1930s, child performer Shirley Temple.

The desire for wartime propaganda created a renaissance in the film industry in Britain, with realistic war dramas. The onset of US involvement in World War II also brought a proliferation of films as both patriotism and propaganda. The House Un-American Activities Committee investigated Hollywood in the early 1950s. During the immediate post-war years the cinematic industry was also threatened by television, and the increasing popularity of the medium meant that some film theatres would bankrupt and close. Following the end of World War II in the 1940s, the following decade, the 1950s, marked a 'Golden Age' for non-English world cinema. During the 1960s, the studio system in Hollywood declined, because many films were now being made on location in other countries, or using studio facilities abroad. The New Hollywood was the period following the decline of the studio system during the 1950s and 1960s and the end of the production code, (which was replaced in 1968 by the MPAA film rating system). During the 1970s, filmmakers increasingly depicted explicit sexual content and showed gunfight and battle scenes that included graphic images of bloody deaths.

During the 1980s, audiences began increasingly watching films on their home VCRs. In the early part of that decade, the film studios tried legal action to ban home ownership of VCRs as a violation of copyright, which proved unsuccessful. Eventually, the sale and rental of films on home video became a significant "second venue" for exhibition of films, and an additional source of revenue for the film industries. The Lucas–Spielberg combine would dominate "Hollywood" cinema for much of the 1980s, and lead to much imitation. The early 1990s saw the development of a commercially successful independent cinema in the United States.