“Rooty Toot Toot” tells its story with a really bold, stylized approach that stands out from typical animation of its time. The colors are loud and purposeful—bright reds and yellows pop during intense moments, while cooler shades set a calmer mood. There’s not much realism in the backgrounds; instead, they’re made up of abstract shapes and patterns that create a vibe more than a detailed setting. The characters themselves are drawn in a super exaggerated way—sharp angles, stretched limbs, and expressive faces—so you immediately get a sense of their personality just by looking at them.
Nate Ragland
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Jiří Trnka’s The Hand (Ruka, 1965) was seen as subversive by the Czechoslovak communist government because it was a thinly veiled critique of authoritarian control and censorship. The film tells the story of a simple artist who just wants to create his own work, but a giant hand—representing power and authority—constantly pressures him to sculpt what it demands. As the hand’s tactics escalate from persuasion to force, the artist is ultimately destroyed, and his death is repackaged as a state-approved tribute. For the communist government, the message was unmistakable. The film was a reflection of what many artists in Czechoslovakia were experiencing—constant interference, ideological restrictions, and the looming threat of punishment if they didn’t conform. The fact that Trnka, an internationally respected animator, was making this statement made it even more dangerous in the eyes of the authorities. They couldn’t allow a film that so clearly criticized the system to circulate, so they banned it.
Private Snafu – Fighting Tools uses humor in a few different ways to get its point across, mainly through voice, drawing, movement, and story. The exaggerated, sarcastic narration mocks Snafu’s mistakes, making the lesson more memorable while keeping it entertaining. The animation itself is cartoonish and over-the-top, with Snafu’s clueless expressions and dramatic failures adding to the comedy. Slapstick plays a big role too with his carelessness with his weapons leads to exaggerated mishaps. The story follows a simple but effective setup: Snafu neglects his weapons, and when the time comes to use them, they fail him completely.
Steamboat Willie uses synchronized sound to enhance the animation and emphasize actions. Each movement is carefully matched with rhythmic sound effects, creating a seamless blend of audio and visuals. For instance, when Mickey Mouse plays music using various objects and animals aboard the steamboat, the sounds are precisely timed to correspond with his actions, reinforcing the playful and energetic tone of the film. Exaggerated sound effects, such as the ship’s whistle and the squeaking of livestock, further contribute to the film’s comedic and dynamic nature. The film’s use of sound reveals important character traits. Mickey’s inventive and mischievous personality is highlighted through his playful engagement with sound-producing objects.
Film Selection: Steamboat Willie
I am drawn to Steamboat Willie because of its historical significance as the first synchronized sound cartoon, its pioneering animation techniques, and its role in establishing Mickey Mouse as an iconic character. The film’s aesthetic, combining simple yet expressive animation with synchronized music and sound effects, set a new standard for animation in the late 1920s. Additionally, its cultural and political context, including its impact on the animation industry and Disney’s rise to prominence, makes it a compelling subject for analysis.
Outline of Research & Discussion Topics:
- Historical Context: The significance of Steamboat Willie in animation history and its impact on Walt Disney’s career.
- Technical Innovations: How the film utilized synchronized sound and what made it groundbreaking.
- Aesthetic & Animation Style: The visual style, character animation, and its influence on future cartoons.
- Cultural Impact: How Steamboat Willie shaped the perception of Mickey Mouse and contributed to Disney’s legacy.
Winsor McCay’s Gertie the Dinosaur (1914) and Émile Cohl’s Fantasmagorie (1908) represent two early approaches to animation, each demonstrating unique stylistic and technical choices. Despite their differences, both films share foundational characteristics, such as the use of hand-drawn animation, black-and-white line work, and a focus on movement. However, their approaches to storytelling, background usage, and line quality set them apart. One of the most striking differences between the two films is the treatment of line work. Fantasmagorie employs thin, sketchy, constantly shifting lines, creating a fluid, dreamlike quality. Objects morph seamlessly from one form to another, reinforcing the film’s surreal nature. In contrast, Gertie the Dinosaur features more defined and consistent line work, particularly in the depiction of Gertie herself. The animation strives for a sense of weight and realism, evident in how Gertie moves and interacts with her environment. Background usage further distinguishes the two films. Fantasmagorie has minimal background detail, often allowing the space to shift or disappear entirely, contributing to its abstract and experimental aesthetic. In contrast, Gertie the Dinosaur maintains a stable background featuring a rocky landscape, anchoring the character’s actions in a defined space. This approach enhances the illusion that Gertie exists within a physical environment rather than floating in an undefined void.
Being an audience member at Gaspard Robertson’s Fantasmagorie show in 1797 would have been a surreal and terrifying experience. The eerie atmosphere, the flickering light of the magic lantern, and the ghostly images seemingly floating and moving around the room would have made it feel as though the supernatural had come to life. Since the late 18th century was still deeply influenced by superstition and a fascination with the afterlife, I probably would have been amazed and genuinely frightened. The illusions would have felt almost real, especially with smoke, mirrors, and sound effects to heighten the sense of horror.
One animated show that truly captivated me is Arcane, a Netflix series released in 2021. Created by Christian Linke and Alex Yee, the show was produced by Riot Games and animated by the French studio Fortiche Productions. Arcane is based on the world of League of Legends, but it stands on its own as a breathtaking story of power, ambition, and the bond between two sisters, Vi and Jinx. What draws me to Arcane is its stunning animation and deep storytelling. Fortiche’s animation style is a seamless blend of 2D and 3D, creating a painterly, hand-crafted look that feels unique in the world of CGI animation. The level of detail in the characters’ facial expressions, the fluidity of the fight sequences, and the cinematic lighting all contribute to an immersive experience. The characters are another major reason Arcane stands out. Vi and Jinx’s relationship is beautifully complex—filled with love, regret, and heartbreak. Every character in the show, from Caitlyn to Viktor to Silco, fully realized, their motivations and struggles. The voice acting, combined with the emotional depth of the writing, makes them feel incredibly human.
Nate Ragland
Hello, I’m Nate and I’m a Animations and Motions Graphics Major, I joined this class it’s a requirement and want to also learn more about the history of animation around the world. I mainly to 3d since it’s what I’m good at but I do study 2d as well. Career goal I want to be a animator or something in that field
