This week we will cover some of the experiments with film and animation techniques that occurred during the 60s and 70s. During this period there were some early experiments with CGI. We will also look at the development of youth culture during this period and feature films designed to appeal to that audience. Additionally, we will look at developments in gaming.<\/p>\r\n
Jump to the different sections with the links below:<\/em><\/strong><\/span><\/p>\r\n Postwar formal experimentation<\/a> \/Early CGI experiments<\/a> \/\u00a0Overview of 1960s and 70s youth movement<\/a> \/ Animated feature films for the youth audience<\/a> \/ From arcade games to personal consoles<\/a> \/ Types of games<\/a> \/ Online gaming<\/a> \/ Indie games<\/a> \/ Issues in gaming?<\/a>\/ Assignment<\/a>\u00a0<\/span><\/em><\/span><\/p>\r\n In the period following WWII, there was new energy in avant-garde filmmaking, including animation. Some of the experimentation involved working directly on film, abstract imagery, and collage. In the 50s and 60s, artists began experimenting with technology and using computers to create animation.<\/p>\r\n Harry Smith<\/strong> (1923-1991) was an American artist, filmmaker, writer, collector and mystic. He was influenced by the writings of Allen Ginsburg, Jack Kerouac and other writers identified with Beat Culture, which was characterized by sexual liberation, drug use, spirituality, an interest in Jazz and other American forms of music. Smith is known for his animated films, as well as his six album compilation Anthology of American Folk Music<\/em>. Smith’s animation involved collage, and direct manipulation of film, sometimes painting on the film. He moved to New York in 1950, where many of his animated films were made and where he continued to be a leading figure in Beat Culture. He frequently re-cut his films, which are often identified by numbers.<\/p>\r\n Here’s a quote from his description of his work from the catalogue of the Filmmaker’s Cooperative.<\/p>\r\n “My cinematic excreta is of four varieties: batiked abstractions made directly on film between 1939 and 1946; optically printed non-objective studies composed around 1950; semi-realistic animated collages made as part of my alchemical labors of 1957 to 1962; and chronologically superimposed photographs of actualities formed since the latter year. All these works have been organized in specific patterns derived from the interlocking beats of the respiration, the heart and the EEG Alpha component and should be observed together in order, or not at all, for they are valuable works, works that will live forever\u2014they made me gray.” (from Sitney, P. Adams. “Animating the Absolute” Art Forum https:\/\/www.artforum.com\/print\/197205\/animating-the-absolute-harry-smith-36216<\/a> Retrieved June 2021)<\/i><\/p>\r\n Smiths’s No.. 11 Mirror Animations<\/em> (1956-1957) was shot in 16mm, using collage..<\/p>\r\n<\/a>Postwar formal experimentation<\/h2>\r\n