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Editorial Reviews
From Library Journal
This chronological history analyzes animated film as an autonomous art form that has nevertheless been affected by the economics of live-action cinema as well as social and political forces (e.g., the dislocation of Continental Europe's animators by World War II). This comprehensive study describes concepts and practice, profiles innumerable animators, and concludes with a chapter on computer animation. Because of truly global coverage (from Mali to Mongolia), Cartoons introduces such important animators as Russia's Alexandre Alexeieff and Scotland-born Canadian master Norma McLaren while providing details on familiar names like Disney, Walter Lantz, and Tex Avery. Despite the subject's popularity, this should not be considered a coffee-table book but a scholarly reference whose notes and bibliography are valuable sources for further study. Purchase for comprehensive film and art collections.
Kim Holston, American Inst. for Chartered Property Casualty Underwriters, Malvern, Pa.
Copyright 1995 Reed Business Information, Inc. --This text refers to the Paperback edition.
From Booklist
Although animation has finally begun to be thought worthy of serious attention, the spate of books on it in recent years has focused primarily on commercial Hollywood animation. Bendazzi ambitiously attempts to fill the gap. He covers more than a century's worth of animation, from the 1888 th{‚}e{ƒ}atre optique (a device for projecting moving painted images that predates motion picture pioneers Edison and Lumi{Š}ere) to today's cutting edge computer-animation technology. He covers American animation, of course, but also describes developments in more than 70 other countries, in many of which animation emerged more as an art form than a box office draw. His work is not without shortcomings: the writing (the translation, anyway) is occasionally awkward, and despite or because of its exhaustive depth and scholarly approach, the text seldom conveys the delightfulness that makes the best cartoons so compelling. Carping aside, this valuable effort, already well received in France and Italy, promises to be the basic reference on its subject for some time to come. Gordon Flagg
See all Editorial Reviews
This chronological history analyzes animated film as an autonomous art form that has nevertheless been affected by the economics of live-action cinema as well as social and political forces (e.g., the dislocation of Continental Europe's animators by World War II). This comprehensive study describes concepts and practice, profiles innumerable animators, and concludes with a chapter on computer animation. Because of truly global coverage (from Mali to Mongolia), Cartoons introduces such important animators as Russia's Alexandre Alexeieff and Scotland-born Canadian master Norma McLaren while providing details on familiar names like Disney, Walter Lantz, and Tex Avery. Despite the subject's popularity, this should not be considered a coffee-table book but a scholarly reference whose notes and bibliography are valuable sources for further study. Purchase for comprehensive film and art collections.
Kim Holston, American Inst. for Chartered Property Casualty Underwriters, Malvern, Pa.
Copyright 1995 Reed Business Information, Inc. --This text refers to the Paperback edition.
From Booklist
Although animation has finally begun to be thought worthy of serious attention, the spate of books on it in recent years has focused primarily on commercial Hollywood animation. Bendazzi ambitiously attempts to fill the gap. He covers more than a century's worth of animation, from the 1888 th{‚}e{ƒ}atre optique (a device for projecting moving painted images that predates motion picture pioneers Edison and Lumi{Š}ere) to today's cutting edge computer-animation technology. He covers American animation, of course, but also describes developments in more than 70 other countries, in many of which animation emerged more as an art form than a box office draw. His work is not without shortcomings: the writing (the translation, anyway) is occasionally awkward, and despite or because of its exhaustive depth and scholarly approach, the text seldom conveys the delightfulness that makes the best cartoons so compelling. Carping aside, this valuable effort, already well received in France and Italy, promises to be the basic reference on its subject for some time to come. Gordon Flagg
See all Editorial Reviews
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