Age Of History 2 Mod Bahasa Indonesia

Animated TV series of the 1950s

Jay Ward produced the popular Crusader Rabbit (tested in 1948, original broadcasts in 1949–1952 and 1957–1959), with the successful use of a limited-animation style.

At the end of the 1950s, several studios dedicated to TV animation production started competing. While the focus for competition in theatrical animation had been on quality and innovation, it now shifted to delivering animation quickly and cheaply. Critics noted how the quality of many shows was often poor in comparison to classic cartoons, with rushed animation and run-of-the-mill stories. Network executives were satisfied as long as there were enough viewers,[45] and the huge amounts of young viewers were not bothered with the lack of quality that the critics perceived. Watching Saturday-morning cartoon programming, up to four hours long, became a favorite pastime of most American children in mid-1960s, and was a mainstay for decades.

Disney had entered into TV production relatively early, but for a long time refrained from creating new animated series. Instead, Disney had their anthology series on the air since 1954 in prime time three-hour slots, starting with the Walt Disney's Disneyland series (1954–1958), clearly promoting the Disneyland theme park that opened in 1955. Walt Disney personally hosted the series that –apart from older cartoons– featured segments with looks behind the scenes at film-making processes or with new live-action adventures among others.

William Hanna and Joseph Barbera (the creators of Tom and Jerry) continued as Hanna-Barbera after Metro-Goldwyn-Mayer closed their animation studio in 1957 when MGM considered their back catalog sufficient for further sales.[46] While Hanna-Barbera only made one theatrically released series with Loopy de Loop (1959–1965), they proved to be the most prolific and successful producers of animated television series for several decades. Starting with The Ruff and Reddy Show (1957–1960), they continued with successful series like The Huckleberry Hound Show (1958, the first half-hour television program to feature only animation) and The Quick Draw McGraw Show (1959–1961).

Other notable programs include UPA's Gerald McBoing Boing (1956–1957), Soundac's Colonel Bleep (1957–1960, the first animated TV series in color), Terrytoons's Tom Terrific (1958), and Jay Ward's The Adventures of Rocky and Bullwinkle and Friends (1959–1964).

In contrast to the international film market (developed during the silent era when language problems were limited to title cards), TV-pioneering in most countries (often connected to radio broadcasting) focused on the domestic production of live programs. Rather than importing animated series that usually would have to be dubbed, children's programming could more easily and more cheaply be produced in other ways (for instance, featuring puppetry). One notable method was the real-time "animation" of cutout figures in Captain Pugwash (1957) on the BBC. One of the few early animated series for TV that was seen outside of the country of production was Belvision Studios' Les Aventures de Tintin, d'après Hergé (Hergé's Adventures of Tintin) (Belgium 1957–1964, directed by Ray Goossens), broadcast by the BBC in 1962 and syndicated in the United States from 1963 to 1971.

s: Adult-oriented cartoons and use in music videos

Cartoon Film Company – Buxton and Dyer

Between 1915 and 1916 Dudley Buxton and Anson Dyer produced a series of 26 topical cartoons, during WWI, mainly utilising cutout animation, which they released as John Bull's Animated Sketchbook,[16] The episodes included events such as the shelling of Scarborough by German battleships,[17] and the sinking of the RMS Lusitania in episode No.4 in June 1915.[18]

Around 1913 Raoul Barré developed the peg system that made it easier to align drawings by perforating two holes below each drawing and placing them on two fixed pins. He also used a "slash and tear" technique to not have to draw the complete background or other motionless parts for every frame. The parts where something needed to be changed for the next frame were carefully cut away from the drawing and filled in with the required change on the sheet below.[19] After Barré had started his career in animation at Edison Studios, he founded one of the first film studios dedicated to animation in 1914 (initially together with Bill Nolan). Barré Studio had success with the production of the adaptation of the popular comic strip Mutt and Jeff (1916–1926). The studio employed several animators who would go on to have notable careers in animation, including Frank Moser, Gregory La Cava, Vernon Stallings, and Pat Sullivan.

In 1914, John Bray opened John Bray Studios, which revolutionized the way animation was created. Earl Hurd, one of Bray's employees, patented the cel technique. This involved animating moving objects on transparent celluloid sheets. Animators photographed the sheets over a stationary background image to generate the sequence of images. This, as well as Bray's innovative use of the assembly-line method, allowed John Bray Studios to create Colonel Heeza Liar, the first animated series.[24] Many aspiring cartoonists started their careers at Bray, including Paul Terry (later of Heckle and Jeckle fame), Max Fleischer (later of Betty Boop and Popeye fame), and Walter Lantz (later of Woody Woodpecker fame). The cartoon studio operated from c. 1914 until 1928. Some of the first cartoon stars from the Bray studios were Farmer Alfalfa (by Paul Terry) and Bobby Bumps (by Earl Hurd).

Multiplane cameras and the stereopticon process

Several techniques were developed to create the impression of depth. The most common technique was to have characters move between several layers that could be moved independently, corresponding to the laws of perspective (e.g. the further away from the camera, the slower the speed).

Lotte Reiniger had already designed a type of multiplane camera for Die Abenteuer des Prinzen Achmed[35] and her collaborator Berthold Bartosch used a similar setup for his intricately detailed 25-minute film L'Idée (1932).

In 1933, Ub Iwerks developed a multiplane camera and used it for several Willie Whopper (1933–1934) and ComiColor Cartoons episodes.

The Fleischers developed the very different stereopticon process in 1933[36] for their Color Classics. It was used in the first episode Betty Boop in Poor Cinderella (1934) and most of the following episodes. The process involved three-dimensional sets built and sculpted on a large turntable. The photographed cells were placed within the movable set so that the animated characters would appear to move in front and behind the 3D elements within the scene when the turntable was made to rotate.

Disney employee William Garity developed a multiplane camera that could have up to seven layers of artwork. It was tested in the Academy Award-winning Silly Symphony episode The Old Mill (1937) and used prominently in Snow White and later features.

s: Shift from classic theatrical cartoons to limited animation in TV series for children

Most theatrical cartoons had been produced for non-specific audiences. Dynamic action and gags with talking animals in clear drawing styles and bright colors were naturally appealing to young children, but the cartoons regularly contained violence and sexual innuendo and were often screened together with newsreels and feature films that were not for children. On US television, cartoons were mainly programmed for children, in convenient time slots on weekend mornings, weekday afternoons, or early evenings.

The scheduling constraints of the 1950s American TV animation process, and notable issues of resource management (higher quantity needed to be made in less time for a lower budget compared to theatrical animation), led to the development of various techniques now known as limited animation. The sparser type of animation which originally had been an artistic choice of style for UPA was embraced as a means to cut back production time and costs. Full-frame animation ("on ones") became rare in the United States, outside its use for a decreasing amount of theatrical productions. Chuck Jones coined the term "illustrated radio" to refer to the shoddy style of most television cartoons that depended more on their soundtracks than visuals. Some producers also found that limited animation looked better than the fully animated styles on the small black-and-white TV screens of the time.[44]

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An Explosion in Popularity

Soon after it debuted, a Catholic priest in Pennsylvania who enjoyed playing Bingo asked if he could use Lowe’s game for a fundraiser. The trend quickly caught on, and Bingo gained massive popularity as churches and other organizations began to use the game as a fundraiser. By 1934, over 10,000 Bingo games were being played each week! Today, Americans still love Bingo, and many organizations continue to use the game as a fundraiser. In fact, $90 million is spent on Bingo games in North America each week!

Standard picture film

Despite the success of Reynaud's films, it took some time before animation was adapted in the film industry that came about after the introduction of Lumiere's Cinematograph in 1895. Georges Méliès' early fantasy films and trick films (released between 1896 and 1913) occasionally contain elements that somewhat resemble animation, including painted props or painted creatures that were moved in front of painted backgrounds (mostly using wires), and film colorization by hand. Méliès also popularized the stop trick, with a single change made to the scene in between shots, that had already been used in Thomas Edison's The Execution of Mary Stuart in 1895 and probably led to the development of stop-motion animation some years later.[1] It was not until 1906 that proper animated films appeared in cinemas. The dating of some presumed earlier films with animation is contested, while other early films that might have used stop motion or other animation techniques are lost or unidentified.

By 1897, German toy manufacturer Gebrüder Bing had a first prototype of their toy kinematograph,[2] which they presented at a toy convention in Leipzig in November 1898. Soon after, other toy manufacturers in Germany and France, including Ernst Plank, Georges Carette, and Lapierre, started selling similar devices. The kinematographs were basically traditional toy magic lanterns, adapted with one or two small spools that used standard "Edison perforation" 35mm film, a crank, and a shutter. These projectors were intended for the same type of "home entertainment" toy market that most of the manufacturers already provided with praxinoscopes and magic lanterns. Apart from relatively expensive live-action films, the manufacturers produced many cheaper films by printing lithographed drawings. These animations were probably made in black-and-white starting in 1898 or 1899, but by 1902 at the latest they were produced in color. The pictures were often traced from live-action films (like the later rotoscoping technique). These very short films typically depicted a simple repetitive action and most were designed to be projected as a loop - playing endlessly with the ends of the put together. The lithograph process and the loop format follow the tradition that was set by the stroboscopic disc, zoetrope and praxinoscope.[3][4]

Katsudō Shashin (produced between 1907 and 1912), is speculated to be the oldest work of animation in Japan and it was probably made in imitation of similar Western printed film strips.

J. Stuart Blackton was a British-American filmmaker, co-founder of the Vitagraph Studios, and one of the first to use animation in his films. His The Enchanted Drawing (1900) can be regarded as the first theatrical film recorded on standard picture film that included animated elements, although this concerns just a few frames of changes in drawings. It shows Blackton doing "lightning sketches" of a face, cigars, a bottle of wine and a glass. The face changes expression when Blackton pours wine into the face's mouth and when Blackton takes his cigar. The technique used in this film was basically the stop trick: the single change to the scenes was the replacement of a drawing by a similar drawing with a different facial expression. In some scenes, a drawn bottle and glass were replaced by real objects. Blackton had possibly used the same technique in a lost 1896 lightning sketch film.[1]

Blackton's 1906 film Humorous Phases of Funny Faces is often regarded as the oldest known hand-drawn animation on standard film. It features a sequence made with blackboard drawings that are changed between frames to show two faces changing expressions and some billowing cigar smoke, as well as two sequences that feature cutout animation with a similar look for more fluid motion.

Alexander Shiryaev was a Russian ballet dancer, ballet master, and choreographer who served at the Mariinsky Theatre who is credited with the independent invention of stop motion animation. From 1906 to 1909, he created the earliest known animated films made in Russia, using puppet animation, hand-drawn animation, and mixed techniques. While some were made as experiments (for example, a 20-minute drawn animation showing the flight of birds in a continuous line), most of his films were made for the educational purpose of showing ballet dancers what their choreography should look like. The puppet animations ranged in length from just over a minute to 10 minutes long. Shiryaev's films were only screened within the Mariinsky Theatre for the performers, not publicly, and were generally unknown until 2003, when Russian documentarist and ballet historian Viktor Bocharov released a one-hour movie titled A Belated Premiere which included fragments of the various films.

Spanish filmmaker Segundo de Chomón made many trick films for French film company Pathé. By 1906, he had used stop motion in several short films, including La Maison ensorcelée[6] and Le théâtre de Bob[7] (both released in the US in April 1906). Blackton's The Haunted Hotel (23 February 1907)[8] contains stop motion elements that are very similar to those in La Maison ensorcelée. If the release dates are correct (and if translated titles have not been mixed up), Blackton must have been inspired by De Chomón's work rather than vice versa, but it has been believed that The Haunted Hotel was a big hit in France and other European countries, and would have been the film that inspired local filmmakers, including Émile Cohl, to start working with the innovative animation technique.[1] De Chomon also made the related short film Hôtel électrique (1908), which includes a short scene with pixilation.

In 1907, the French artist Émile Cohl started his filmmaking career with Japon de faintasie,[9] with imaginative use of stop motion techniques. His next short can be regarded as the first animated film using what would come to be known as traditional animation methods: the 1908 Fantasmagorie. The film largely consists of a stick figure moving about and encountering all manner of morphing objects, such as a wine bottle that transforms into a flower. There are also sections of live action where the animator's hands enters the scene. The film was created by drawing each frame on paper and then shooting each frame onto negative film, which gave the picture a blackboard look. Cohl later went to Fort Lee, New Jersey near New York City in 1912, where he worked for French studio Éclair and spread its animation technique to the US.

Being Patient and Profiting From Slots

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The very first thing you should do is know the rules of the slot you’re playing. Understand how the bonus rounds play, how many pay lines you can play, how to make a winning combination, etc…. Without knowing how the machine works can make for a frustrating and expensive first time.

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Image credit: Julia Bujalski

The earliest forms of Bingo date all the way back to 1530 in Italy. At the time, a game called Lo Giuoco del Lotto D'Italia, or the Italian Lottery, was extremely popular. Lotto boards were rectangular and had 27 squares each – nine squares across and three squares down. Players were given cards with numbered squares and the winning numbers were drawn out of a sack.

The game quickly moved through Europe and gained widespread popularity. In the 1770s, a young Frenchman created an alternate French version of the Italian Lotto, called Le Lotto. The French game featured cards with three rows and nine columns. Each had a random number from 1 – 90 written on it. Numbers were once again drawn from a sack and the winner would be the first person to get all the numbers in a horizontal row.

Eventually, the game was brought to North America. The North American precursor to Bingo was called Beano. In the early 1900s, Beano gained popularity at carnivals throughout America. The game gets its name from the way that players used beans to cover their squares. Also, the winner would shout “Beano!” The game is thought to have been introduced in North America by Hugh J. Ward, who wrote a rulebook for his version of Beano in 1933.

In 1929, a Brooklyn toy salesman named Edwin S. Lowe observed a game of Beano being played and decided to develop his own version of the game. Lowe’s game featured cards with five rows and five columns of numbers. After branding his new game as Bingo, he began selling it in 24-card sets. However, he later worked with a Columbia University mathematician to create over 6,000 unique Bingo cards!

Where did the iconic name come from? Legend has it that while Lowe was developing the game, he invited a group of friends to test the new gameplay. Due to its similarity to Beano, one player became confused and shouted, “Bingo!” upon winning – and the name stuck. However, since the term “Bingo” was already being used for a similar game in the United Kingdom, it’s also possible that Lowe simply borrowed the British game’s name for his own American version.

s: From original artists to "assembly-line" production studios

During the 1910s larger-scale animation studios come into being and solo artists faded from the public eye.[11] The first known professional female animator, Bessie Mae Kelley, began her career in 1917.[12]

Starting with a short 1911 film of his most popular character Little Nemo, successful newspaper cartoonist Winsor McCay gave much more detail to his hand-drawn animations than any animation previously seen in cinemas. His 1914 film Gertie the Dinosaur featured an early example of character development in drawn animation. It was also the first film to combine live-action footage with animation. Originally, McCay used the film in his vaudeville act: he would stand next to the screen and speak to Gertie who would respond with a series of gestures. At the end of the film McCay would walk behind the projection screen, seamlessly being replaced with a prerecorded image of himself entering the screen, getting on the cartoon dinosaur's back and riding out of frame. McCay personally hand-drew almost every one of the thousands of drawings for his films.[11] Other noteworthy titles by McCay are How a Mosquito Operates (1912) and The Sinking of the Lusitania (1918).