{"id":2689,"date":"2024-10-03T09:25:26","date_gmt":"2024-10-03T09:25:26","guid":{"rendered":"https:\/\/beatbit.org\/research\/?p=2689"},"modified":"2024-10-04T14:13:05","modified_gmt":"2024-10-04T14:13:05","slug":"the-definition-of-animation-a-letter-from-norman-mclaren","status":"publish","type":"post","link":"https:\/\/beatbit.org\/research\/the-definition-of-animation-a-letter-from-norman-mclaren\/","title":{"rendered":"THE DEFINITION OF ANIMATION, A LETTER FROM NORMAN MCLAREN"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"2689\" class=\"elementor elementor-2689\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f58a65f elementor-section-full_width elementor-section-height-default elementor-section-height-default\" data-id=\"f58a65f\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-75f1b9de\" data-id=\"75f1b9de\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-05d02e7 elementor-widget elementor-widget-heading\" data-id=\"05d02e7\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">THE DEFINITION OF ANIMATION,\nA LETTER FROM NORMAN MCLAREN<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8033c52 elementor-widget elementor-widget-text-editor\" data-id=\"8033c52\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: right;\">Georges Sifianos<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5f64cf9 elementor-widget elementor-widget-image\" data-id=\"5f64cf9\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"438\" height=\"512\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/Norman-McLaren-438x512.webp\" class=\"attachment-medium size-medium wp-image-2743\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/Norman-McLaren-438x512.webp 438w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/Norman-McLaren-876x1024.webp 876w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/Norman-McLaren-768x898.webp 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/Norman-McLaren-1314x1536.webp 1314w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/Norman-McLaren.webp 1600w\" sizes=\"(max-width: 438px) 100vw, 438px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-cab7d30 elementor-widget elementor-widget-text-editor\" data-id=\"cab7d30\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">In 1986, when I was writing my doctoral thesis on the subject of \u2018Language and aesthetics of animated film\u2019, I spent a lot of time trying to understand in depth the meaning of the term \u2018animation\u2019. Definitions existed, but they weren&rsquo;t always satisfactory. In most cases, the main problem was that people tried to define this cinema in terms of its techniques, whereas identical results could be obtained using a variety of techniques. There were no clear boundaries. If, for example, we take the classic definition of animated cinema, \u2018frame by frame cinema\u2019, it very quickly proves to be limited, as we can see if we film an immobile element, a wall for example, at different frame rates: at 300 frames per second, at 24 frames per second or frame by frame: the result remains identical.<\/span><\/p><p><span style=\"font-weight: 400;\">For me, the property of animation was not inherent in an object, but was attributed to it. This quality depended more on the era, the culture and the historical period, than on the technique.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a330e5a elementor-widget elementor-widget-image\" data-id=\"a330e5a\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"512\" height=\"396\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-01-512x396.png\" class=\"attachment-medium size-medium wp-image-2697\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-01-512x396.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-01-1024x792.png 1024w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-01-768x594.png 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-01.png 1134w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b142a57 elementor-widget elementor-widget-text-editor\" data-id=\"b142a57\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-350c4d1 elementor-widget elementor-widget-menu-anchor\" data-id=\"350c4d1\" data-element_type=\"widget\" data-widget_type=\"menu-anchor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-menu-anchor\" id=\"TEXTE01\"><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c460347 elementor-widget elementor-widget-text-editor\" data-id=\"c460347\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">One of the best-known definitions of animation was that of Norman McLaren, who made the following three statements <a class=\"myredlink\" href=\"#NOTE01\"><strong>[1]<\/strong><\/a><span style=\"font-weight: 400;\">:<\/span><\/span><\/p><ul><li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">\u201cAnimation is not the art of <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">DRAWINGS-that-move<\/span><\/span><span style=\"font-weight: 400;\"> but the art of <span style=\"text-decoration: underline;\">MOVEMENTS-that-are-drawn<\/span>.<\/span><\/li><li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">What happens <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">between<\/span><\/span><span style=\"font-weight: 400;\"> each frame is much more important than what exists <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">on<\/span><\/span><span style=\"font-weight: 400;\"> each frame.<\/span><\/li><li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Animation is therefore the art of manipulating the invisible interstices that lie between frames.\u00bb<\/span><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5f68e83 elementor-widget elementor-widget-image\" data-id=\"5f68e83\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img decoding=\"async\" width=\"408\" height=\"512\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/003-408x512.jpg\" class=\"attachment-medium size-medium wp-image-2693\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/003-408x512.jpg 408w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/003.jpg 637w\" sizes=\"(max-width: 408px) 100vw, 408px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a42086c elementor-widget elementor-widget-menu-anchor\" data-id=\"a42086c\" data-element_type=\"widget\" data-widget_type=\"menu-anchor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-menu-anchor\" id=\"TEXTE02\"><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c218556 elementor-widget elementor-widget-text-editor\" data-id=\"c218556\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">I had noticed on many occasions that the desire to enhance the status of a cinema unfairly considered as \u2018children&rsquo;s cinema\u2019 led to the adoption of impressive but questionable ideas. I wondered whether Norman McLaren&rsquo;s enigmatic definition did not also create a mythology for animated cinema (the expression \u2018the art of manipulating invisible interstices\u2019 suggested the idea of a magical power&#8230;). Different translations of McLaren&rsquo;s definition developed the metaphysical dimension further, which made me curious about what he meant exactly. <a class=\"myredlink\" href=\"#NOTE02\"><strong>[2]<\/strong><\/a> <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3fd2c5b elementor-widget elementor-widget-image\" data-id=\"3fd2c5b\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"393\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-02-512x393.png\" class=\"attachment-medium size-medium wp-image-2698\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-02-512x393.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-02-768x590.png 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-02.png 867w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-dcda9bb elementor-widget elementor-widget-text-editor\" data-id=\"dcda9bb\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-9a29f96 elementor-widget elementor-widget-text-editor\" data-id=\"9a29f96\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">Various answers had already been given to the question of how to \u2018draw\u2019 movement: for example, G\u00e9ricault, in his painting \u2018The Epsom Derby\u2019, combines two different moments in a horse&rsquo;s gallop to create a sensation of movement. The Futurists&rsquo; solution was to multiply the number of legs of an animal, for example, in a given painting. But what was McLaren&rsquo;s point of view? What did he mean by \u2018drawn movements\u2019? Was his expression literal or figurative? Literally, movement cannot be drawn. Metaphorically, the meaning wasn&rsquo;t clear either. On the other hand, I wondered why \u2018what happens between the images\u2019 was so important. If it had value for a scientist, how could it be valid for an artist whose work appears on each photogram? Why are the images on the photograms less important?<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bbf0a06 elementor-widget elementor-widget-menu-anchor\" data-id=\"bbf0a06\" data-element_type=\"widget\" data-widget_type=\"menu-anchor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-menu-anchor\" id=\"TEXTE03\"><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-aa2d2be elementor-widget elementor-widget-text-editor\" data-id=\"aa2d2be\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">Of course, I understood that McLaren, as an animator, preferred movement to static images. However, I had questions about his definition of animation, so I wrote to him to ask for clarification. Below is the letter I received in response to my questions, in which McLaren modifies his initial definition.<\/span><span style=\"font-weight: 400;\"><a class=\"myredlink\" href=\"#NOTE03\"><strong>[3]<\/strong><\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-45f3ea4 elementor-widget elementor-widget-menu-anchor\" data-id=\"45f3ea4\" data-element_type=\"widget\" data-widget_type=\"menu-anchor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-menu-anchor\" id=\"NOTE01\"><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1d7cce8 elementor-widget elementor-widget-text-editor\" data-id=\"1d7cce8\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<span style=\"font-weight: 400;\">[1] Norman McLaren, in : <\/span><i><span style=\"font-weight: 400;\">Les cin\u00e9astes d&rsquo;animation face au mouvement<\/span><\/i><span style=\"font-weight: 400;\"> d\u2019Andr\u00e9 Martin (Poitiers : Imprimerie Daynac, s. d.). This definition can be found in editions such as <\/span><i><span style=\"font-weight: 400;\">Cartoons<\/span><\/i><span style=\"font-weight: 400;\"> by Giannalberto Bendazzi (London: John Libbey, 1994), <\/span><i><span style=\"font-weight: 400;\">Les ateliers de cin\u00e9ma d\u2019 animation: film et vid\u00e9o<\/span><\/i><span style=\"font-weight: 400;\"> by Robi Engler (Lausanne: PM Favre, 1982) or Cin\u00e9ma 57 14 (1957).<\/span>\n<h6><a class=\"myredlink\" href=\"#TEXTE01\">[back to text]<\/a><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-782b460 elementor-widget elementor-widget-menu-anchor\" data-id=\"782b460\" data-element_type=\"widget\" data-widget_type=\"menu-anchor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-menu-anchor\" id=\"NOTE02\"><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-67e3398 elementor-widget elementor-widget-text-editor\" data-id=\"67e3398\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">[2] Andr\u00e9 Martin, for example, translates \u2018what happens\u2019 between each photogram as \u2018what there is\u2019, which is far from McLaren&rsquo;s thinking. A similar translation can be found in Cin\u00e9ma 57 14 (1957).<\/span><\/p><h6><a class=\"myredlink\" href=\"#TEXTE02\">[back to text]<\/a><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-bca963e elementor-widget elementor-widget-menu-anchor\" data-id=\"bca963e\" data-element_type=\"widget\" data-widget_type=\"menu-anchor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-menu-anchor\" id=\"NOTE03\"><\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0fd65cb elementor-widget elementor-widget-text-editor\" data-id=\"0fd65cb\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">[3] Extracts from this letter were published for the first time in English in the magazine \u00ab <\/span><i><span style=\"font-weight: 400;\">Animation journal, Spring 1995 <\/span><\/i><span style=\"font-weight: 400;\">\u00bb and on several subsequent occasions. The letter in its entirety is also published in my book <\/span><i><span style=\"font-weight: 400;\">Esth\u00e9tique du cin\u00e9ma d\u2019animation<\/span><\/i><span style=\"font-weight: 400;\">, Paris, Cerf-Corlet, 2012.<\/span><\/p><h6><a class=\"myredlink\" href=\"#TEXTE03\">[back to text]<\/a><\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3257949 elementor-widget elementor-widget-image\" data-id=\"3257949\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"434\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-03-512x434.png\" class=\"attachment-medium size-medium wp-image-2722\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-03-512x434.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-03-768x651.png 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-03.png 884w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-0a84806 elementor-widget elementor-widget-text-editor\" data-id=\"0a84806\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-14d523c elementor-widget elementor-widget-heading\" data-id=\"14d523c\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">THE LETTER FROM NORMAN MCLAREN<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-6a996e5 elementor-widget elementor-widget-text-editor\" data-id=\"6a996e5\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\">1<\/span><\/p><p style=\"text-align: right;\"><span style=\"font-weight: 400;\">Box 730<br \/><\/span><span style=\"font-weight: 400;\">Hudson, Que.<br \/><\/span><span style=\"font-weight: 400;\">Canada, JOP-1H0<\/span><\/p><p style=\"text-align: right;\"><span style=\"font-weight: 400;\">4 AUG. 86<\/span><\/p><p><span style=\"font-weight: 400;\">Dear Mr Sifianos,<\/span><\/p><p><span style=\"font-weight: 400;\">Only yesterday did I receive your letter of 16th March. I must apologize most profoundly for this great delay in answering.<\/span><\/p><p><span style=\"font-weight: 400;\">Since I retired from the ONF (NFB) 2 \u00bd years ago, various people have been responsible for forwarding my mail to Hudson, but it has been mainly done by my ex-assistant, who uses my old NFB room. He is and has been for many months in England. Yesterday I visited my room to pick up a file on my desk. Under some other papers I found <\/span><span style=\"font-weight: 400;\">your<\/span><span style=\"font-weight: 400;\"> letter, which he had obviously been too busy or forgotten to forward to me. I was shocked and embarrassed when I noted \u201c16 March\u201d on your letter.<\/span><\/p><p><span style=\"font-weight: 400;\">My reply to it is, I am sure, too late to be of value in your thesis. Is it ? If not I will reply as fully as I can and as soon as I can, if you ask me by further letter.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-904eb12 elementor-widget elementor-widget-image\" data-id=\"904eb12\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"425\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-04-512x425.png\" class=\"attachment-medium size-medium wp-image-2730\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-04-512x425.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-04-768x638.png 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-04.png 803w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d9e9721 elementor-widget elementor-widget-text-editor\" data-id=\"d9e9721\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fec8f14 elementor-widget elementor-widget-text-editor\" data-id=\"fec8f14\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">If yes, briefly I will say my first statement was meant metaphorically or rhetorically, not literally. The critical decision which the animator has to make has to be made between the first drawing and the second drawing &#8211; just <span style=\"text-decoration: underline;\">exactly how much movement<\/span> he has to make (incidentally, I said \u201cDRAWING\u201d for a simple and rhetorical effect. Static objects, puppets and human beings can all be animated without <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">drawings<\/span><\/span><span style=\"font-weight: 400;\">, but I failed to include them.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5094b39 elementor-widget elementor-widget-image\" data-id=\"5094b39\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"425\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-05-512x425.png\" class=\"attachment-medium size-medium wp-image-2731\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-05-512x425.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-05-768x638.png 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-05.png 803w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8c1b9c6 elementor-widget elementor-widget-text-editor\" data-id=\"8c1b9c6\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-657f757 elementor-widget elementor-widget-text-editor\" data-id=\"657f757\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\">2<\/span><\/p><p><span style=\"font-weight: 400;\">But for the animator, whether he be moving a cut-out geometric form, a familiar three-dimensional object, a puppet or a human figure (as a match-stickman or fully clothed and rendered chiaroscuro man, or a live figure) the most important aspects is that he thinks in terms of <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">just how much<\/span><\/span><span style=\"font-weight: 400;\"> he will move that figure <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">between<\/span><\/span><span style=\"font-weight: 400;\"> every frame photographed, moreover he has to think of it as a continuous series of moves in advance.<\/span><\/p><p><span style=\"font-weight: 400;\">There are only 5 basic categories, as my film \u201cANIMATED MOTION\u201d explains:<\/span><\/p><p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">1 &#8211; zero motion &#8211; stationariness<\/span><\/p><p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">2 &#8211; constant motion &#8211; (with a full range of tempos)\u00a0<\/span><\/p><p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">3 &#8211; accelerating motion &#8211; ranging from gradual steps &#8211;\u00a0<\/span>from very slow to very fast<\/p><p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">4 &#8211; decelerating motion<\/span><\/p><p style=\"padding-left: 40px;\"><span style=\"font-weight: 400;\">5 &#8211; erratic motion (seldom used)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-25b3154 elementor-widget elementor-widget-image\" data-id=\"25b3154\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-06-512x456.png\" class=\"attachment-medium size-medium wp-image-2732\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-06-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-06.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-b8bf156 elementor-widget elementor-widget-image\" data-id=\"b8bf156\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-07-512x456.png\" class=\"attachment-medium size-medium wp-image-2733\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-07-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-07.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1462f75 elementor-widget elementor-widget-image\" data-id=\"1462f75\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-08-512x456.png\" class=\"attachment-medium size-medium wp-image-2737\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-08-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-08.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-768f1ea elementor-widget elementor-widget-image\" data-id=\"768f1ea\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-09-512x456.png\" class=\"attachment-medium size-medium wp-image-2738\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-09-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-09.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f0fc4f0 elementor-widget elementor-widget-text-editor\" data-id=\"f0fc4f0\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5d0b2ef elementor-widget elementor-widget-text-editor\" data-id=\"5d0b2ef\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">No matter how expressive (of emotions) the single static graphic figure is, if the manipulation of the series of moves does not convey the motion (or emotion) intended, it will be poor or bad animation.<\/span><\/p><p><span style=\"font-weight: 400;\">E.G. A man hammering a nail cannot be animated adequately if all moves are constant,\u00a0<\/span><span style=\"font-weight: 400;\">it needs acceleration.<\/span><\/p><p><span style=\"font-weight: 400;\">A bull bouncing cannot be used with constant moves.<\/span><\/p><p style=\"text-align: center;\"><span style=\"font-weight: 400;\">CONSTANT\u00a0 \u00a0 \u00a0 DECEL\u00a0 \u00a0 \u00a0 ACCEL<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e8f6237 elementor-widget elementor-widget-image\" data-id=\"e8f6237\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-10-512x456.png\" class=\"attachment-medium size-medium wp-image-2744\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-10-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-10.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-4c7a5b8 elementor-widget elementor-widget-text-editor\" data-id=\"4c7a5b8\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8abe622 elementor-widget elementor-widget-text-editor\" data-id=\"8abe622\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">These examples will seem very obvious to you. You are perfectly and exactly correct in saying \u201c<em>Ce qui est donc important, \u2026 c\u2019est le degr\u00e9 de la diff\u00e9renciation de la deuxi\u00e8me image par rapport \u00e0 la premi\u00e8re<\/em>\u201d.<\/span><\/p><p><span style=\"font-weight: 400;\">The good animator knows the correct amount of differentiation by instinct, by observation, by experience. he feels it, if moving a cut-out or object, or a series of drawings.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e0e5373 elementor-widget elementor-widget-image\" data-id=\"e0e5373\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-13-512x456.png\" class=\"attachment-medium size-medium wp-image-2747\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-13-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-13.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f941d40 elementor-widget elementor-widget-text-editor\" data-id=\"f941d40\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-43683e3 elementor-widget elementor-widget-text-editor\" data-id=\"43683e3\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\">3<\/span><\/p><p><span style=\"font-weight: 400;\">As the Renaissance artist and all painters in the realist tradition studied the <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">anatomy<\/span><\/span><span style=\"font-weight: 400;\"> of people, faces, forms and things around him, so the good animator studies the <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">anatomy<\/span><\/span><span style=\"font-weight: 400;\"> of the <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">motions<\/span><\/span><span style=\"font-weight: 400;\"> he sees around him (professionally we call them \u201ccalibrations\u201d).<\/span><\/p><p><span style=\"font-weight: 400;\">If he sees an angry man standing at a table and pounding the table with his fist, he sees the acceleration of the arm and fist as it descends on the table, and he will see that more the man becomes the steeper (and faster) that acceleration becomes.<\/span><\/p><p style=\"text-align: center;\"><span style=\"font-weight: 400;\">TABLE &gt;\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><span style=\"font-weight: 400;\">anger<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0<span style=\"font-weight: 400;\">more angry<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0<span style=\"font-weight: 400;\">even more angry<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-528de8e elementor-widget elementor-widget-image\" data-id=\"528de8e\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-11-512x456.png\" class=\"attachment-medium size-medium wp-image-2745\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-11-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-11.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1d9c6fd elementor-widget elementor-widget-image\" data-id=\"1d9c6fd\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"456\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-12-512x456.png\" class=\"attachment-medium size-medium wp-image-2746\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-12-512x456.png 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/LE-MOUVEMENT-IMAGE-PAR-IMAGE-12.png 749w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8485fc7 elementor-widget elementor-widget-text-editor\" data-id=\"8485fc7\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\"><em>Animated motion<\/em> by Norman McLaren &amp; Grant Munro (1976)<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e3d539d elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"e3d539d\" data-element_type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e199ebc elementor-widget elementor-widget-text-editor\" data-id=\"e199ebc\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">I seem to have strayed from answering your questions, I\u2019m sorry. \/\/\/ My main point is that the animator has to do his thinking or feeling <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">between<\/span><\/span><span style=\"font-weight: 400;\"> making one move ad the next move, which usually means <\/span><span style=\"font-weight: 400;\">between<\/span><span style=\"font-weight: 400;\"> one drawing and the next, or if he is shooting cut-outs, things and objects, he has to make the <\/span><span style=\"font-weight: 400;\">critical<\/span><span style=\"font-weight: 400;\"> decision of how much to move, <\/span><span style=\"font-weight: 400;\">between<\/span><span style=\"font-weight: 400;\"> shooting one frame and the next. <\/span><span style=\"text-decoration: underline;\"><span style=\"font-weight: 400;\">And that decision is at the heart of animation<\/span><\/span><span style=\"font-weight: 400;\">. In a finished film no amount of spectacular or beautiful decor and characters, etc., will be a substitute for good animation. In my 3 statements I downplay and seem to ignore the importance of the graphic elements.<\/span><\/p><p><span style=\"font-weight: 400;\">These statements were made a\u00a0 long time ago when UPA and other animators were starting to use \u201csimplified\u201d animation, such as double-framing all actions and introducing many holds, which I considered despicable to the art of animation.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-f51b00e elementor-widget elementor-widget-image\" data-id=\"f51b00e\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"288\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/UPA-512x288.jpg\" class=\"attachment-medium size-medium wp-image-2754\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/UPA-512x288.jpg 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/UPA-1024x576.jpg 1024w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/UPA-768x432.jpg 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/UPA.jpg 1280w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-e71e447 elementor-widget elementor-widget-text-editor\" data-id=\"e71e447\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\">United Productions of America (UPA)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5c023d4 elementor-widget elementor-widget-text-editor\" data-id=\"5c023d4\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\"><span style=\"font-weight: 400;\">4<\/span><\/p><p><span style=\"font-weight: 400;\">Of course, the graphism of whatever is being animated does play or can play a very important r\u00f4le. With only a match-stick man? one can make him happy or sad\u00a0 ONLY by his path-of-motion and its calibrations. With a much more fully graphically drawn man-with-a-face, we would normally make the happy smiling man move with vivacity in a joyful way, and the man with the sad face would move in a slow sad way, with drooping shoulders.<\/span><\/p><p><span style=\"font-weight: 400;\">With such full graphism we have two move possibilities; the happy looking man behave in the way our first sad man moved (following the same path with the same characteristics of the sad one); and vice-versa, the sad-faced may move with joy.<\/span><\/p><p><span style=\"font-weight: 400;\">The graphism and animation are made to contradict each other!! &#8211; rather than reenforce each other.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-89c0e85 elementor-widget-divider--view-line elementor-widget elementor-widget-divider\" data-id=\"89c0e85\" data-element_type=\"widget\" data-widget_type=\"divider.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-divider\">\n\t\t\t<span class=\"elementor-divider-separator\">\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-672b17a elementor-widget elementor-widget-text-editor\" data-id=\"672b17a\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">6th AUGUST<\/span><\/p><p>\u00a0<\/p><p><span style=\"font-weight: 400;\">Sorry, but the above explanations are rather confused, disorderly and perhaps obvious. If I were rewriting the 3 statements today, I would eliminate the first and the second and I would say something like this<\/span><\/p><p><span style=\"font-weight: 400;\">FOR THE ANIMATOR, THE <\/span><span style=\"font-weight: 400;\">DIFFERENCE<\/span><span style=\"font-weight: 400;\"> BETWEEN EACH SUCCESSIVE FRAME IS MORE IMPORTANT THAN THE IMAGE ON ACH SINGLE FRAME. iT IS THE HEART AND SOUL OF ANIMATION. THE GRAPHISM, THOUGH VERY IMPORTANT TOO, IS\u00a0 OF SECONDARY IMPORTANCE. ANIMATION THEREFORE IS THE ART OF MANIPULATING THE <\/span><span style=\"font-weight: 400;\">DIFFERENCES<\/span><span style=\"font-weight: 400;\"> BETWEEN SUCCESSIVE FRAME, OR THE IMAGE ON EACH FRAME<\/span><strong><span style=\"color: #ff6600;\">*<\/span><\/strong><span style=\"font-weight: 400;\">: (and should not be confused with the excellence of the graphism itself).<\/span><\/p><p style=\"padding-left: 280px;\"><span style=\"font-weight: 400;\">Yours sincerely<\/span><\/p><p>\u00a0<\/p><p style=\"padding-left: 400px;\"><span style=\"font-weight: 400;\">Norman McLaren<\/span><\/p><p><br \/><strong><span style=\"color: #ff6600;\">*<\/span><\/strong><span style=\"font-weight: 400;\"> a decision made by the animator in his mind, and at his leisure, which is what I rather obtusely meant by \u201cthe invisible interstices that lie between each frame\u201d.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-15429a2 elementor-widget elementor-widget-image\" data-id=\"15429a2\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"512\" height=\"392\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/mclaren-cinema-canada-histoire-archives-67524-512x392.jpg\" class=\"attachment-medium size-medium wp-image-2763\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/mclaren-cinema-canada-histoire-archives-67524-512x392.jpg 512w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/mclaren-cinema-canada-histoire-archives-67524.jpg 514w\" sizes=\"(max-width: 512px) 100vw, 512px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3121829 elementor-widget elementor-widget-text-editor\" data-id=\"3121829\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\">Norman McLaren died on 26 January 1987.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1b59cd5 elementor-widget elementor-widget-image-gallery\" data-id=\"1b59cd5\" data-element_type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"elementor-image-gallery\">\n\t\t\t<div id='gallery-1' class='gallery galleryid-2689 gallery-columns-4 gallery-size-medium'><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"1b59cd5\" data-elementor-lightbox-title=\"042\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6Mjc2NCwidXJsIjoiaHR0cHM6XC9cL2JlYXRiaXQub3JnXC9yZXNlYXJjaFwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMTBcLzA0Mi1zY2FsZWQuanBnIiwic2xpZGVzaG93IjoiMWI1OWNkNSJ9\" href='https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"399\" height=\"512\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-399x512.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-399x512.jpg 399w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-798x1024.jpg 798w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-768x986.jpg 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-1196x1536.jpg 1196w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-1595x2048.jpg 1595w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/042-scaled.jpg 1994w\" sizes=\"(max-width: 399px) 100vw, 399px\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"1b59cd5\" data-elementor-lightbox-title=\"043\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6Mjc2NSwidXJsIjoiaHR0cHM6XC9cL2JlYXRiaXQub3JnXC9yZXNlYXJjaFwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMTBcLzA0My1zY2FsZWQuanBnIiwic2xpZGVzaG93IjoiMWI1OWNkNSJ9\" href='https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"399\" height=\"512\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-399x512.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-399x512.jpg 399w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-798x1024.jpg 798w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-768x986.jpg 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-1196x1536.jpg 1196w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-1595x2048.jpg 1595w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/043-scaled.jpg 1994w\" sizes=\"(max-width: 399px) 100vw, 399px\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"1b59cd5\" data-elementor-lightbox-title=\"044\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6Mjc2NiwidXJsIjoiaHR0cHM6XC9cL2JlYXRiaXQub3JnXC9yZXNlYXJjaFwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMTBcLzA0NC1zY2FsZWQuanBnIiwic2xpZGVzaG93IjoiMWI1OWNkNSJ9\" href='https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"400\" height=\"512\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-400x512.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-400x512.jpg 400w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-799x1024.jpg 799w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-768x984.jpg 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-1199x1536.jpg 1199w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-1598x2048.jpg 1598w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/044-scaled.jpg 1998w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><\/a>\n\t\t\t<\/div><\/figure><figure class='gallery-item'>\n\t\t\t<div class='gallery-icon portrait'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"1b59cd5\" data-elementor-lightbox-title=\"045\" data-e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6Mjc2NywidXJsIjoiaHR0cHM6XC9cL2JlYXRiaXQub3JnXC9yZXNlYXJjaFwvd3AtY29udGVudFwvdXBsb2Fkc1wvMjAyNFwvMTBcLzA0NS1zY2FsZWQuanBnIiwic2xpZGVzaG93IjoiMWI1OWNkNSJ9\" href='https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"399\" height=\"512\" src=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-399x512.jpg\" class=\"attachment-medium size-medium\" alt=\"\" srcset=\"https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-399x512.jpg 399w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-798x1024.jpg 798w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-768x986.jpg 768w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-1196x1536.jpg 1196w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-1595x2048.jpg 1595w, https:\/\/beatbit.org\/research\/wp-content\/uploads\/2024\/10\/045-scaled.jpg 1994w\" sizes=\"(max-width: 399px) 100vw, 399px\" \/><\/a>\n\t\t\t<\/div><\/figure>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-188ab63 elementor-widget elementor-widget-text-editor\" data-id=\"188ab63\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t<p style=\"text-align: center;\">Click to enlarge.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>THE DEFINITION OF ANIMATION, A LETTER FROM NORMAN MCLAREN Georges Sifianos In 1986, when I was writing my doctoral thesis on the subject of \u2018Language and aesthetics of animated film\u2019, I spent a lot of time trying to understand in depth the meaning of the term \u2018animation\u2019. Definitions existed, but they weren&rsquo;t always satisfactory. In [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"elementor_theme","format":"standard","meta":{"footnotes":""},"categories":[52],"tags":[],"class_list":["post-2689","post","type-post","status-publish","format-standard","hentry","category-theory"],"_links":{"self":[{"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/posts\/2689","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/comments?post=2689"}],"version-history":[{"count":76,"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/posts\/2689\/revisions"}],"predecessor-version":[{"id":2853,"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/posts\/2689\/revisions\/2853"}],"wp:attachment":[{"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/media?parent=2689"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/categories?post=2689"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/beatbit.org\/research\/wp-json\/wp\/v2\/tags?post=2689"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}