ANI 206
History of
Animation
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Instructor:
Jason Hopkins
jhopki@artic.edu
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Course
Description
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This
course is an introduction to the history and development of the field of
animation. We will explore this subject from various perspectives: by
chronology, from its prehistory before the invention of film to the present
day; by form, including method and medium; by culture, comparing the US to
Japan, Russia, Europe and others; by subject; and by personality,
concentrating on the figures who have shaped the art form and continue to
influence it through their example. Students are expected to bring an
enthusiastic interest in the medium, and to devote serious effort to reading
about, viewing, researching and discussing animation and the artists who have
created it.
During
our examination of the artwork, we will pay special attention to the
attitudes and influences of race, gender, technology, culture, and the
conflict between art and industry.
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Course Objectives
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To
instill an appreciation of the technical and artistic contributions of
animators throughout history
To
build the students critical vocabulary, and to encourage reflective
criticism (both oral and written) of works of animation.
To
gain an understanding of the economic, social and technological contexts that
have shaped animations development around the world
To
learn to trace and recognize historical influences on later styles and forms
To
discover lesser-known work from under-represented genres and cultures, and
the value of their diversity
To
explore the varied potential of animation as an entertaining, expressive and
meaningful art form
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Liberal Studies
Arts and Literature Domain
Description
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ANI
206 is included in the Liberal Studies program as a course with credit in the
Arts and Literature Domain. Courses in the Arts and Literature Domain ask
students to extend their knowledge and experience of the arts by developing
their critical and reflective abilities. In these courses, students interpret
and analyze particular creative works, investigate the relations of form and
meaning, and through critical and/or creative activity to come to experience
art with greater openness, insight, and enjoyment. These courses focus on
works of literature, art, theatre, or music as such, though the process of
analysis may also include social and cultural issues. Students who take
course in this domain choose three courses from such choices as literature,
the visual arts, media arts, music, and theater. No more than two courses can
be chosen from one department or program.
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Attendance
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Student
absences are not expected to exceed more than 10% (2 absences) of the number
of the classes scheduled for the semester. A third absence will result in the
lowering of your final grade one full letter. Any student missing 4 classes
will be given a grade of F for the semester.
Tardiness
is defined as not in the classroom when attendance is called or departing
before the class has been formally dismissed by the instructor. Tardiness
that exceeds thirty minutes will be counted as an absence. TWO late arrivals
or early departures, or a combination of both, are counted as one absence. If
you arrive late for class, it is your responsibility to make sure that you
have been marked tardy rather than absent.
The
largest impact of absences will be on your quiz performance. All films shown
and discussed in class are fair game for quiz questions, as is any other
subject that we discuss, whether in the reading or not.
No
incompletes will be given without documented proof of circumstances beyond
your control.
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Screenings
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We
will be watching many examples of animation, complete when possible, but
often just selected parts due to our time constraints. Unfortunately, some
of you may not find all of them as enjoyable as I do, and I apologize in
advance. I will try to share with you why they are worth watching, and how
to gain a better appreciation of some of the more challenging examples.
Remember, this is a university class, and the purpose is education, not just
entertainment.
Animation,
especially the independent variety, can be purposefully crude and
provocative, and some may take offense at what is shown. This is an academic
environment, and a mature and respectful attitude must be maintained towards
the subject and your classmates.
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Class Work
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This
class will require a large amount of reading: at least 40 pages
per week.
The reading will relate to the following lecture, when we will watch
examples of the animations discussed in the text. All students are expected
to have completed the scheduled reading, and be prepared to participate in
the discussion of the text and its relation to the work viewed. I will
frequently ask reading comprehension questions about the assigned
reading at the beginning of class (correct responses will positively affect
your participation grade), or sometimes assign similar questions that must be
completed and handed in by the beginning of the following class.
Every
two weeks you will write a one page (approximately 400 words) reaction
paper
about an animation that we watched in class. For some of these the subject
will be your choice, other times I may assign a specific animation or
subject.
There
will be four quizzes which will each cover the previous two weeks subjects
(including the lectures and discussions). The final exam will cover larger
subjects from throughout the semester (including the lectures and
discussions), as well as the final two weeks of class.
All
reading assignments will be listed on our Course Online site: http://dlweb.cti.depaul.edu
You
will research and write a five page research paper, with supporting
sources, on any of the general animation topics covered in the syllabus, or
an equivalent (Animation Behind the Iron Curtain, for example). You
must discuss at least two animators who are not listed in bold in the lecture
schedule, and whose work relates to your chosen subject. You need to make
sure that you have watched at least one example of each animators work, and
discuss it in the paper. Your paper needs at least three research sources
other than the course textbook (Beck), two must be non-Internet.
Your
papers topic is due May 1 and it must include a list of the 2
non-internet sources you will use. If the subject is changed after this date
your final papers grade will be lowered one grade (maximum grade is then a
B), so make sure you spend time and research deciding on your topic.
There
are several useful books on animation history on reserve at the DePaul Loop
Library (see below under Recommended).
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Grading
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20%
Participation in class discussions, both in-class and online
40%
Four quizzes
20%
Research paper
20%
Final exam
A
= 100-93, A- = 92-90, B+ = 89-88, B = 87-83, B- = 82-80, C+ = 79-78, C =
77-73, C- = 72-70, D+ = 69-68, D = 67-63, D- = 62-60, F = 59-0.
A
indicates excellence, B indicates good work, C indicates satisfactory work, D
work is unsatisfactory in some respect, F is substantially unsatisfactory
work.
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Cell Phones
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Use
of cell phones in the class is prohibited. Please turn your phone off before
entering class. Mistakes will happen (to me too), but repeated failure to
turn your phone off will result in a lowered grade for the class.
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Academic
Integrity
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Work
done for this course must adhere to the DePaul University Academic Integrity
Policy, which you can review in the Student Handbook or by visiting http://www.depaul.edu/university-catalog/academic-handbooks/Pages/default.aspx.
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Bibliography
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Required
Text:
Animation
Art: From Pencil to Pixel, the World of Cartoon, Anime, and CGI by Jerry Beck. Collins Design, 2004.
Course
reserve readings online at http://eres.lib.depaul.edu
The
password is: ani206
Recommended:
- *Experimental Animation: Origins
of a New Art by Robert Russett and Cecile Starr. Da Capo
Press, 1976.
- *Cartoons: 100 Years of Cinema
Animation by Giannalberto
Bendazzi. Indiana University Press, 1996.
- Of Mice and Magic by Leonard
Maltin. Plume Books, 1987
- Disney Animation: the Illusion of
Life by
Frank Thomas and Ollie Johnston. Hyperion, 1995.
- Art in Motion: Animation
Aesthetics
by
Maureen Furniss. Indiana University Press, 1998
- Understanding Animation by Paul Wells.
Routledge, 1998.
- Before Mickey by Donald
Crafton. University of Chicago Press, 1993.
- *Masters of Animation by John Grant.
Watson-Guptill, 2001.
- Animation and America by Paul Wells.
Rutgers University Press, 2002.
- Serious Business: The Art and
Commerce of Animation in America by Stefan Kanfer. DeCapo Press,
2000.
- A Reader in Animation Studies by Jane
Pilling. Indiana University Press, 1999.
*
On reserve at the DePaul Loop Library for your research paper.
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Schedule
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This
schedule is subject to change throughout the semester.
ALWAYS
CHECK THE WEBSITE FOR UPDATES
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Class
1:
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The
evolution of animation in France and US: Reynaud, Cohl, & McCay
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European
experimentation: Starewicz, Reiniger, & Fischinger
Readings: Beck, pages 6-15, 22-23, 26-29 and 68-69
From the course reserves
(password: ani206) http://eres.lib.depaul.edu
Wells, pages 10-20,
Russett, pages 33-34, 40-43 and 49-56
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Class 2:
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The
US studio system: Otto Messmer and Max Fleischer
Readings:
Beck,
pages 16-19, 24-25, 30-31, 38-39, 60-63
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Walt
Disney
and the quest for perfection
First
Reaction Paper due
Readings: Beck 20-21, 34-37,
46-47, 56-59, 80-83, 118-121, 150-154, 210-213, 276-277
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Class 3:
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Quiz
1
Tex
Avery, Chuck Jones, Bob Clampett & Warner Bros.
Readings: Beck pages 40-53, 64-67, 84-89, 94-95,
124-129, 156-157, and from the Course Reserves, Furniss, "Live From
Trumps", an interview with Chuck Jones.
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Banned
cartoons: Racism and WW II Propaganda
Readings: Beck pages 76-81, 90-91, 112-115
From
the course reserves (password: ani206) http://eres.lib.depaul.edu
Sampson, "That's Enough, Folks: Black
Images in Animated Cartoons"
and the Wikipedia entry on
the history of the Minstrel Show:
http://en.wikipedia.org/wiki/Minstrel_show
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Class 4:
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Animation
behind the Iron Curtain: Jiri Trnka and Yuri Norstein
Readings:
Beck
pages 74-5, 110-11, 138-41, 172-3, 190-5, 234-5, 290-3, 362-5
From the course reserves
(password: ani206) http://eres.lib.depaul.edu
Moritz, William. 1997.
Narrative Strategies for Resistance and Protest in Eastern European
Animation
Read more about Yuri Norstein's "Tale of Tales" at these links:
http://everything2.com/index.pl?node=Skazka%20skazok
http://film.guardian.co.uk/features/featurepages/0,4120,1460794,00.html
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Norman
McLaren
and the National Film Board of Canada
Second
Reaction Paper due
Readings:
Beck
pages 100-03, 160-61, 248-49
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Class 5:
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Quiz 2
John Hubley and the stylistic legacy
of the UPA
Readings:
Beck
pages 100-03, 160-61, 248-49
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Hanna-Barbera,
Jay Ward, Art Clokey and the birth of TV animation
Research paper subject due: grade lowered by 1 if this subject changes
Readings:
Beck
pages 132-133, 162-165, 176-185, 200-207, 246-247
From the course reserves (password: ani206) http://eres.lib.depaul.edu
Kanfer, Stefan. 2000. We
Could Get Away with Less.
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Class 6:
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Films
for adults I: Animal Farm, Allegro Non Troppo and Yellow Submarine
Readings:
Beck
pages 168-169 (Animal Farm), 218-225 (Yellow Submarine), 254-257 (Allegro Non
Troppo)
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Films
for adults II: Fantastic Planet and Fritz the Cat
Third
Reaction Paper due
Readings:
Beck
pages 242-253
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Class 7:
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Quiz 3
Is it Animation? Is it Art? Brakhage, Breer and
Kentridge
Readings:
From
the course reserves (password: ani206) http://eres.lib.depaul.edu
Russett, Robert, and Cecile
Starr, Experimental Animation: Section on Robert Breer
Danto, Arthur, William
Kentridge
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The
revival of Stop-motion: Jan Svankmajer and Nick Park
Readings:
Beck
pages 92-93, 250-251, 322-325, 358-359
From the course reserves
(password: ani206) http://eres.lib.depaul.edu
John Grant Jan
Svankmajer
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Class 8:
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The
return of the feature: Richard Williams and Tim Burton
Readings:
Beck
pages 274-285, 304-305
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Research
paper due
The
Japanese Disneys: Tezuka and Miyazaki
Readings:
Beck
pages 142-3, 174-5, 196-7, 236-9, 260-1, 294-7, 330-1, 366-73
From the course reserves
(password: ani206) http://eres.lib.depaul.edu
Drazen, Anime Explosion!
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Class 9:
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Quiz
4
TV
grows up: Groening, Kricfalusi,
Judge, Stone and Parker
Readings:
Beck,
pages 246-7, 272-3, 278-283, 312-321, 348-351
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Tron,
Pixar and
the birth of CGI
Readings:
Beck,
pages 268-271, 308-311, 338-347, 354-5
From the course reserves (password: ani206) http://eres.lib.depaul.edu
Canemaker, John. 2004.
Part Human, Part Cartoon: A New Species. The New York Times
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Class
10:
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Animation
or FX? OBrien, Harryhausen and Jackson
Fourth
Reaction Paper due The Future of Animation
Readings:
Beck,
pages 92-97, 158-159, 306-307, 352-357
From the course reserves (password: ani206) http://eres.lib.depaul.edu
Dargis, Manhola. 2004. Do
You Hear Sleigh Bells? Nah, Just Tom Hanks and Some Train. The New York
Times
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Animation
today: [adult swim], Anime, computer games & the Web
Readings:
From
the course reserves (password: ani206) http://eres.lib.depaul.edu
Homestar Runner
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Final Exam
ATTENDANCE
MANDATORY
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