Animation, edited by Scott Curtis, is a remarkable addition to the Behind the Silver Screen series of film books. This series promises to provide a history of filmmaking rather than merely a history of films, and Animation fulfills this promise perfectly. It is essential reading for anyone interested in animation, whether they are theorists, historians, practitioners, or hobbyists.
Cover of Animation (2019), edited by Scott Curtis
Animation explores the extensive history of Western animation by examining it through different modes of production: artisanal, collaborative, and industrial. It analyzes various eras, from the Silent Era (chapter 1) to Classic Hollywood (chapter 2) and the Rise of Computer Animation (chapter 5), by focusing on the tools, techniques, and organization of labor in both commercial and independent animation. The book does not favor any mode of production, studio, or creator; rather, it places each in context with other contemporaneous creators, technologies, and the social and economic pressures they faced.
The in-depth exploration of modes of production in animation is made possible by the scholarly team assembled by Scott Curtis (Introduction and The Silent Era, chapter 1). This esteemed group of scholars—Susan Ohmer (Classical Hollywood, chapter 2), Kevin Sandler (Limited Animation, chapter 3), Alla Gadassik (Independent Animators and the Artisanal Mode, chapter 4), Andrew Johnson (The Rise of Computer-generated Imagery, chapter 5), and Bob Rehak (Ubiquitous Animation, chapter 6)—collaborates in this volume to provide a comprehensive and efficient history of animation. Each scholar delves into their specific area of expertise, creating rich and meaningful chapters that contribute to a cohesive narrative that is enhanced by the seamless transition of the conversation from one author to the next.
One of the intriguing themes in the book is the idea of viewing “animation history as a series of problems and solutions.” (pg 10) The narrative follows the technological challenges faced in animation and the corresponding solutions, illustrating how these solutions influenced on-screen images and storytelling, as well as how they redirected the course of animation history. Various animation techniques emerged in different ways, shaped by the production modes with which the artists engaged.
Other books about the history of animation often focus on artists and production methods as isolated events. However, in Animation, we gain insight into how artists and production methods are interconnected.
For instance, in the introduction, Curtis explains that timelines of modes of production often overlap, with some events or ideas influencing more than one era or presenting multiple solutions to a certain problem. To enhance the richness of the narrative, the authors explore these instances from various perspectives. By revisiting key moments in animation history across multiple chapters, we can reflect on significant works and events and develop a deeper understanding of the book’s concepts.
This is illustrated in discussions about limited animation. The authors explain how limited animation served as a shortcut to navigate the financial constraints and tight production schedules that emerged at the end of the studio era. By examining limited animation in the works of artisanal animators, we see that it was also a deliberate and sophisticated artistic choice. History is often complex; while the authors demonstrate that the simple and bold graphic style of limited animation was well-suited for storytelling in a culture experiencing monumental changes and helped studios to survive, they also describe how it may have contributed to the perception of animation as a medium primarily intended for children.
Interconnectedness of ideas is just one of the many ways the book weaves its themes together. As an example, in Chapter 4, “Independent Animators and the Artisanal Mode,” Alla Gadassik introduces us to the independent film Bambi Meets Godzilla, created by Marv Newland. This film exemplifies the spirit of independent animation, and Gadassik takes this opportunity to connect it to Winsor McCay’s Gertie the Dinosaur (Chapter 1), the work of Disney (Chapter 2), and the contributions of artists working in limited animation (Chapter 3). Additionally, Gadassik points out that the film was not only successful in its original era but also found success later as animation transitioned to the internet (Chapter 6).
The limited number of pictures would have been my main criticism (it is understandable based on printing costs and gaining the rights to many images can be impossible), however it turns out that this limitation ultimately lead to an informative experience. The complete history of animation is far too vast for any single volume to cover comprehensively. I believe these scholars, much like any good teachers, want us to explore the history of animation on our own. Without many images to reference, I found myself reading with the internet open, looking up each film I wasn’t familiar with as I progressed. By gaining a better understanding of the creators and the technologies involved, I could appreciate each film with a sense of wonder, almost as if I had experienced it in its own time. Ultimately, my understanding of animation and the films that utilize this medium became much deeper.
Animation brings together a group of scholars who tell the story of this art form by emphasizing the significance of each historical era. The book highlights how each era contributes to the works produced during that time, and illustrates how these works can have both positive and negative influences on subsequent eras. I am writing this review just a few days after finishing Animation, and I find myself still reflecting on the creators, the films, and the ideas presented in the book. I look forward to reading it again and incorporating it into my curriculum for animation students.
Marc Russo is a comic artist and animator based in the Triangle of North Carolina. He is an Associate Professor of Media Arts, Design, and Technology at North Carolina State University’s College of Design. Marc’s animations have received widespread acclaim, having been featured in numerous local, national, and international festivals. As an animator, illustrator, and interaction designer, Marc has contributed to educational games for several federal grants. Marc’s scholarship interests lie in storytelling and the choices creators make to enhance the narrative. Marc applies his research in storytelling and the cartoon form to his animations, comics, and interactive pieces.