Sheridan Course Outlines

ANIM19599
Animation History

I: Administrative Information II: Course Details III: Topical Outline(s) Printable Version Public

Section I: Administrative Information

Credit Value: 3.0
Credit Value Notes: N/A
Effective: Fall 2005
Prerequisites: N/A
Corequisites: N/A
Equivalents: N/A
Pre/Co/Equiv Notes: N/A

Course Name (short): Animation History
School: Animation Arts and Design
Program(s): Bachelor of Animation
Program Coordinator(s): David Quesnelle
Course Leader or Contact: Elizabeth Littlejohn
Originator: Paulette Geffros
Designate: Paulette Geffros
Version: 3.0
Status: Approved - Under Rev (AREV)

Calendar Description
This course is designed to provide students with an overview survey of animation history from pre-cinema to the present day. Students examine the evolution of the medium and how technology, economics, artistic trends, individual artists and national cultures have affected its development.

Typical Instructional Format

Lecture	42.0
Total hours:	42.0

Courses may be offered in other formats.

Section I Notes: Course Contributors: Kaj Pindal; Mark Mayerson, Elizabeth Littlejohn

Section II: Course Details

Detailed Description
This course is designed to provide students with an overview survey of animation history from pre-cinema to the present day. Students examine the evolution of the medium and how technology, economics, artistic trends, individual artists and national cultures have affected its development. Through interactive lecture, screening of films and research, students analyze works created for movie theatres, television and the web, all of which utilize drawings, stop motion, software and other techniques.

Program Context

Bachelor of Animation

Program Coordinator: David Quesnelle

This course is a single Animation History breadth course required in the first year of the BAA (Animation) Program. It provides an important overview of the development of animation as an art, a craft and an industry. The course broadens students' frame of reference and stimulates them to use a wider variety of design, animation and film making approaches in their core classes.

Course Critical Performance and Learning Outcomes

 Critical Performance
By the end of this course, students will have demonstrated the ability
to analyze the evolution of animation as a medium of communication and
the development of various techniques employed to create animated works.

Learning Outcomes
To achieve the Critical Performance, students will have demonstrated
the ability to:

1. Analyze the role of technology in the evolution of the medium.

2. Explain how economics has shaped the creation of animated films.

3. Explain how artistic trends in other media have influenced the
   development and growth of animation.

4. Compare and contrast the impact of various national cultures on the
   design and development of animated films throughout the world.

5. Describe how the contributions of individual artists have shaped
   the medium.

6. Analyze the wide range of techniques used in the creation of
   animated films.

7. Discuss the nature and development of various studio organizations
   and environments from an historical perspective.

Evaluation Plan
Students demonstrate their learning in the following ways:

Students demonstrate their learning in the following ways:

Research Paper                        	20%
One (1) mid-term exam			40%
One (1) final exam 			40%
Total          		                100%

Provincial Context
The course meets the following Ministry of Training, Colleges and Universities requirements:

Essential Employability Skills
Essential Employability Skills emphasized in the course:

X	Communication	X	Critical Thinking & Problem Solving		Interpersonal
	Numeracy	X	Information Management		Personal

Notes: N/A

Prior Learning Assessment and Recognition
PLAR Contact: David Quesnelle
Students may apply to receive credit by demonstrating achievement of the course learning outcomes through previous life and work experiences. This course is eligible for challenge through the following method(s):

Challenge Exam	Portfolio	Interview	Other	Not Eligible for PLAR
	X	X

Notes: N/A

Section III: Topical Outline

Some details of this outline may change as a result of circumstances such as weather cancellations, College and student activities, and class timetabling.
Effective term: Fall 2005
Professor: Multiple Professors
Textbook(s):

Required Textbooks / Learning Materials: 
Paul Wells, 1998. Understanding Animation. Routledge; ISBN 0 415 11597
3 (Paperback)

Karen Mazurkewich, 1999: Cartoon Capers: The History of Canadian
Animators. McArthur & Company Publishing, Ltd; ISBN 1552780937 (Paperback)

Suggested: 
Shamus Culhane, 1990. Animation: From Script to Screen. Reprint
edition (August 15, 1990); ISBN 0312050526 (Paperback)

Reference: 
Giannalberto Bendazzi, 1995.  Cartoons: One Hundred Years of Cinema
Animation. Indiana University Press; ISBN 0253209374 (Paperback)

John Grant, 2001. Masters of Animation. Watson-Guptill; ISBN 0 8230
3041 5 (Paperback)

Applicable student group(s): Bachelor of Applied Arts (Animation)
Course Details:

Lecture: Elizbeth Littlejohn
Studio: Kaj Pindal

The first hour of the course will be a lecture given by Professor
Littlejohn, after which the class will divide into two sections. Each
section will then attend a two hour interactive lecture with Professor
Pindal, according to their assigned section. 

The first six lectures of the one hour lecture in this course will
focus on the textbook Understanding Animation by Paul Wells, and
analyze narrative strategies using film screenings as case studies.
The second six lectures of the one hour lecture course will
concentrate on the history of Canadian animation, utilizing the
textbook Cartoon Capers: The History of Canadian Animators, by Karen
Mazurkewich. 


Week #1:  September 7, 2005	Lecture: 1 hour
Topic: Course Introduction, Optical Toys and the Persistence of
Vision theory 
Flipbooks and thaumatrope, phenakistoscope, and zoetrope. 

Online Articles:
Persistence of Vision Link: http://www.grand-illusions.com/percept.htm

History of Animation: 
http://www-viz.tamu.edu/courses/viza615/97spring/pjames/history/main.html

Optical Toys Links:
An amazing museum of optical toys:
Laura Hayes and John Howard Wileman Exhibit of Optical Toys
http://courses.ncssm.edu/gallery/collections/toys/opticaltoys.htm
and
http://www.ex.ac.uk/bill.douglas/Schools/animation/animation2.htm
http://web.inter.nl.net/users/anima/optical/index.htm

Interactive Lecture: 2 hours 
(Comics, silent animation, early sound Disney)
Course overview and expectations
Examination of animations pre-cinema roots
Animation in the silent era
Synchronized sound and animation

Week #2: September 14, 2005	Lecture: 1 hour
Topic: Animation Theory and Character Design Strategies

Readings:
Textbook: Paul Wells, Understanding Animation
Introduction: Seeing the Brick p. 1-10
Chapter 1: Thinking about Animation, p. 11-34
Chapter 2: Notes towards a theory of animation, p. 35-67.

Interactive Lecture: 2 hours 
(Disney in the 30s)
Development of story

Week #3:  September 21, 2005     Lecture: 1 hour
Topic: Narrative Strategies in Animation Part 1: Orthodox Animation vs
Experimental Animation 

Readings:
Textbook: Paul Wells, Understanding Animation
Chapter 3: Once upon a time: Narrative Strategies p. 68-126

Online Article:
Link to background of John Canemaker:
http://www.awn.com/mag/issue1.9/articles/lyons1.9.html

Interactive Lecture: 2 hours 
(Disney in the 30s)
Birth of personality and acting

Week #4: September 28, 2005	Lecture: 1 hour
Topic: Narrative Strategies in Animation Part 2

Readings:
Textbook: Paul Wells, Understanding Animation
Chapter 4: 25 Ways to Start Laughing, p. 127-186 

Interactive Lecture: 2 hours 
(Disney in the 30s)
Increased sophistication of drawing

Week #5:  October 5th, 2005	Lecture: 1 hour
Topic: The Comedic Personality 

Readings:
Textbook: Paul Wells, Understanding Animation
Chapter 5: Issues in representation, p. 187-221

Interactive Lecture: 2 hours 
(Disney in the 30s)
Use of colour 

Week #6:  October 12th, 2005	Lecture: 1 hour
Topic: Animated Conventions and Cliches

Readings:
Textbook: Paul Wells, Understanding Animation
Chapter 6: Animation and audiences: My mother used to call me
Thumper!, p.222-p.243. This chapter completes the readings from
Understanding Animation.

Interactive Lecture: 2 hours 
(Disney in the 30s; Fleischer studio)
Studio styles and content

Review all course material (lecture notes and textbook) for the mid
term exam. 

Week #7: 
October 19th, 2005	

Mid Term Exam Worth 40% of final mark Duration: Approximately 2 hours 

Interactive Lecture: 
(Snow White and the Seven Dwarfs)
Growth to features from short films

Week #8:  October 26th, 2005	Lecture: 1 hour
Topic: History of Canadian Animation

Readings: 
Textbook: Karen Mazurkewich, Cartoon Capers
Introduction, p. 9-10
Chapter 1: Snow White and the Great White North, p. 13-20
Chapter 2: Pass the Ammunition: Animation and the War Effort, p. 21-36
Chapter 3: Propaganda Message: 37-60 

Interactive Lecture: 2 hours 
Assignment of term paper
(Norman McLaren)
Animation as personal expression

Week #9: 
November 2, 2005	Lecture: 1 hour
Topic: History of Canadian Animation

Readings: 
Textbook: Karen Mazurkewich, Cartoon Capers
Chapter 4: Hockey and Other Canadian Themes: The NFB Matures, p. 61-78
Chapter 5: The French Revolution, p. 79-94
Chapter 6: Hewers & Drawers, p. 95-126

Interactive Lecture: 2 hours 
(UPA studio and NFB films not by McLaren)
Individual art styles influence studio films

Week #10:  November 9, 2005     Lecture: 1 hour
Topic: History of Canadian Animation

Readings: 
Textbook: Karen Mazurkewich, Cartoon Capers
Chapter 7: A Hard Cel: The Evolution of the Commercial, p. 127-154
Chapter 8: Geeks from the Prairies, p. 155-164
Chapter 9: Give us your Sick, Demented & Lewd: Animators of the West
Coast, p. 169-184

Interactive Lecture: 2 hours 
(Eastern Europe)
Animation under communism
Week #11:  November 16, 2005	Lecture: 1 hour
Topic: History of Canadian Animation

Readings: 
Textbook: Karen Mazurkewich, Cartoon Capers
Chapter 10: Breaking out of the Cel: Women Animators in Canada, p. 185-198
Chapter 11: The Silent Minority: Animations Auteurs, p. 199-222
Chapter 12: Richard Williams  The Prophet, p.223-242

Interactive Lecture: 2 hours 
(NFB)
State sponsored films that educate, entertain, and define local culture

Week #12: November 23, 2005	
Research Paper Due: Worth 20% of final Mark

Lecture: 1 hour
Topic: History of Canadian Animation

Readings: 
Textbook: Karen Mazurkewich, Cartoon Capers
Chapter 13: The Diaspora: Canadians Abroad, p. 243-258
Chapter 14: Shock Troops of Animation, p. 259-274
Chapter 15: Digital Genesis, p.275-306

Interactive Lecture: 2 hours 
(Frederick Back)
Animations perspective on nature

Week #13: November 30, 2005	Lecture: 1 hour
Topic: Generation Extreme: What young Canadian animators are producing
today, and how animation is being distributed on the Internet. 

Interactive Lecture: 2 hours 
(Richard Williams; Paul Fierlinger)
Craft vs. content in the work of individual film makers

Review all course material for the final exam.

Week #14: December 7, 2005	
Final exam Worth 40% of Final Mark: Approximately 2 hours

Interactive Lecture: 
(Miscellaneous independent films)
Variety of styles and voices in independent animated film

Academic Honesty
The principle of academic honesty requires that all work submitted for evaluation and course credit be the original, unassisted work of the student. Cheating or plagiarism including borrowing, copying, purchasing or collaborating on work, except for group projects arranged and approved by the faculty member, or otherwise submitting work that is not the student's own violates this principle and will not be tolerated. Instances of academic dishonesty, including assisting another student to cheat, will be penalized as detailed in the Student Handbook.

Students who have any questions regarding whether or not specific circumstances involve a breach of academic honesty are advised to discuss them with the faculty member prior to submitting the assignment in question.

Discrimination and Harassment
Sheridan is committed to provide a learning environment that respects the dignity, self esteem and fair treatment of every person engaged in the learning process. Behaviour which is inconsistent with this principle will not be tolerated. Details of Sheridan's policy on Harassment and Discrimination are available in the Student Handbook.

[ Printable Version ]