An in-depth Study on the Animation Industry - Philippine Institute for ...

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designed to generate and simulate real-life images. As a result, filmmakers became very much impressed on the performance and the quality of results computers generated <strong>in</strong> filmmak<strong>in</strong>g. Furthermore, computers produced more impressive art pieces. Under this scenario, this paper aims to look <strong>in</strong>to the follow<strong>in</strong>g: 1. determ<strong>in</strong>e the scope and of the animation <strong>in</strong>dustry 2. describe the structure of the animation <strong>in</strong>dustry 3. determ<strong>in</strong>e the exist<strong>in</strong>g and potential markets for the products and services of the <strong>in</strong>dustry both locally and abroad 4. determ<strong>in</strong>e supply capability of the firms <strong>in</strong> the <strong>in</strong>dustry 5. describe the quality and quantity of tra<strong>in</strong><strong>in</strong>g of the human resources of the <strong>in</strong>dustry 6. present an action plan to enhance the growth and competitiveness of the establishments <strong>in</strong> the <strong>in</strong>dustry, particularly <strong>in</strong> the areas of (a) market<strong>in</strong>g, (b) production, (c) human resources, (d) f<strong>in</strong>ance, (e) laws/<strong>in</strong>dustry governance, and (f) performance monitor<strong>in</strong>g scheme 7. 1.0 The Industry 1.1 Historical Background Growth of <strong>An</strong>imation from the Western Region A review of <strong>An</strong>imation World Network via the <strong>in</strong>ternet could trace the history of animation <strong>in</strong> the West. Before the turn of the century, the French conjurer and filmmaker Georges Melies had demonstrated the possibilities of the stop-motion photography, frame-by-frame technique by which animated films have generally been produced. By 1907 J. Stuart Blackton <strong>in</strong> the United States had made an animated film, Humorous Phases of Funny Faces; and a year later, <strong>in</strong> Paris, Emile Cohl embarked on a series of witty cartoon films. Cohl’s successors <strong>in</strong> the silent period <strong>in</strong>cluded such dist<strong>in</strong>guished animation artists as Robert Lortac, Benjam<strong>in</strong> Rabier, and Joseph Hemard. The earliest American animated films were derived from newspaper comic strips, where characters such as “Mutt and Jeff,” “Happy Hooligan,” and The Katzenjammer Kids” orig<strong>in</strong>ated. The first American artist to draw for film was W<strong>in</strong>sor McCay, with his Gertie the D<strong>in</strong>osaur and a series called Dreams of a Rarebit Fiend. The most famous cartoon personality before Walt Disney’s Mickey Mouse, however, was Felix the Cat, created by the Australian cartoonist Pat Sullivan and animated by Otto Mesmer. Meanwhile, the Russian Ladislav Starevich used other silent animation methods, such as stop-action techniques, to animate his exquisite little puppets as early as 1911. Lotte Re<strong>in</strong>iger, a German artist who adapted the ancient techniques of the shadow show, completed the world’s first full-length animated film, Die Abenteuer des Pr<strong>in</strong>z Achmets (The Adventures of Pr<strong>in</strong>ce Achmed), <strong>in</strong> 1926. 10
With the arrival of sound, Walt Disney rapidly achieved preem<strong>in</strong>ence through imag<strong>in</strong>ative use of sound and color with the vitality of his gags largely <strong>in</strong>spired by early slapstick films. Disney’s The Three Little Pigs (1933), with the optimism of its theme song (Who’s Afraid of the Big Bad Wolf?), came to be a symbol of the era of sound. In 1937 Disney made his full-length animated films such as the extraord<strong>in</strong>ary Fantasia <strong>in</strong> 1940 and developed techniques that comb<strong>in</strong>ed animation with live action (as <strong>in</strong> Song of the South [1946). On the other hand, experiments with these hybrid animations also had been under way <strong>in</strong> the Soviet Union for <strong>in</strong>stance where, <strong>in</strong> The New Gulliver (1935), Aleksander Ptushko comb<strong>in</strong>ed live actors and cartoon figures <strong>in</strong> the same scenes. The 1940s and ‘50s saw reactions aga<strong>in</strong>st the Disney style. Such artists as Bill Hanna and Joe Barbera, Tex Avery, Paul Terry, Walter Lantz, and Chuck Jones cont<strong>in</strong>ued <strong>in</strong> the same style of animation but added a new anarchic and surreal comedy. The artists work<strong>in</strong>g for United Productions of America (UPA)—most of whom, <strong>in</strong>clud<strong>in</strong>g Art Babbit and John Hubley, had broken away from Disney—reacted aga<strong>in</strong>st the detail and naturalism of the Disney style with spare, non-naturalistic draw<strong>in</strong>g <strong>in</strong>spired by contemporary art and such practitioners as the Romanian-born Saul Ste<strong>in</strong>berg. In Canada, the Scots animator Norman McLaren experimented with stereoscopy (two-dimensional depictions that through perspective appear three-dimensional), synthetic sound, and other techniques, many of which were further developed by the school of animators he built up. Among McLaren’s colleagues and disciples was George Dunn<strong>in</strong>g, who subsequently worked <strong>in</strong> Great Brita<strong>in</strong>, where the animated c<strong>in</strong>ema was vigorous after 1950. Other notable animators work<strong>in</strong>g <strong>in</strong> Brita<strong>in</strong> <strong>in</strong>cluded John Halas and Joy Batchelor, who were already considered established dur<strong>in</strong>g World War II; Peter Foldes; Bob Godfrey, an <strong>in</strong>spired exponent of low comedy; and Richard Williams, a Canadian whose studio sought to emulate the Disney craft traditions. In Eastern Europe <strong>in</strong> the mid-20 th century, the most notable animated films were created <strong>in</strong> Czechoslovakia, where Jiri Trnka developed a s<strong>in</strong>gular tradition of animation work with puppets, and Yugoslavia, where the Zagreb Studios produced such dist<strong>in</strong>guished practitioners as Vatroslav Mimica, Dusan Vukotic, and Nikola Kostelac. The Fl<strong>in</strong>tstones paved the way nearly 40 years ago, with Top Cat and The Jetsons follow<strong>in</strong>g closely <strong>in</strong> its footsteps. They were the first wave of animated primetime shows aimed at adults. The second wave came much later, but made quite a splash. The Simpsons -- now the longest-runn<strong>in</strong>g comedy <strong>in</strong> primetime -- became a signature breakout hit for the Fox broadcast network after the program's 1989 debut. Around that time, cable was also gett<strong>in</strong>g a piece of the primetime animation action. In 1993, MTV: Music Television's Beavis & Butt-head began really push<strong>in</strong>g the envelope, <strong>in</strong> terms of taste and content. Then Comedy Central broke even more boundaries with the edgy South Park, and it paid off handsomely. South Park became a rat<strong>in</strong>gs and merchandis<strong>in</strong>g bonanza for the network. <strong>An</strong>d Comedy Central's distribution took off because of the show. Hence, the programm<strong>in</strong>g formula du jour for primetime is animation. The ad agency BBDO has cited animation as 11
Page 1 and 2: An in</str
Page 3 and 4: 4.5 Telecommunications 55 4.6 Marke
Page 5 and 6: LIST OF APPENDICES page Appendix A
Page 7 and 8: eating and dr<stro
Page 9: An In-dept
Page 13 and 14: Industry observers also poi
Page 15 and 16: 1.2 Definition and
Page 17 and 18: Based on the latest available <stro
Page 19 and 20: software suddenly made high-end com
Page 21 and 22: Consequently, smaller production ho
Page 23 and 24: million, growing t
Page 25 and 26: 3D Studio's WAS routin</str
Page 27 and 28: Some of the most in</strong
Page 29 and 30: An An</str
Page 31 and 32: 9612 661 2,055 225,039 V 205 740 41
Page 33 and 34: The Top 14 Motion Picture, Radio, T
Page 35 and 36: company is known for in</st
Page 37 and 38: cooperative society aims to build a
Page 39 and 40: Directors Japan Choreographers and
Page 41 and 42: In Hong Kong, Centro Digital Pictur
Page 43 and 44: Mainframe, Ra<stro
Page 45 and 46: tyke fare. In addition to runn<stro
Page 47 and 48: India. It is easy to see why many c
Page 49 and 50: [pounds]2,100), an experienced soft
Page 51 and 52: former House Speaker Manuel Villar
Page 53 and 54: 3.2 Motion Picture Production Backw
Page 55 and 56: 3.4.3 Production Proper - a stage w
Page 57 and 58: 3.6 Quality and Quantity of Tra<str
Page 59 and 60: artistic enrichment by offer<strong
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4.4 Technology and Budget A
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4.10. The global entertain<
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Though artistry is in</stro
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may be sure of bein</strong
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voice in the gover
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9) Imaginasia, Inc
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APPENDIX B GUIDELINES ON THE INVEST
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f. GENERAL VIEWING — This refers
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2. Those which tend to underm<stron
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5. DRUGS — No drug and/or alcohol
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C. PARENTAL GUIDANCE "PG" CLASSIFIC
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CHAPTER V APPLICATION AND ISSUANCE
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SECTION 21. Deletion and/or Cuts.
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CHAPTER VII APPEAL SECTION 29. Appe
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(30) DAYS from receipt by the impor
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VIOLATIONS AND ADMINISTRATIVE SANCT
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Appendix D a) AMENDED RULES AND REG
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CHAPTER II GUIDING PRINCIPLES SECTI
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a) After review, the BOARD shall ap
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e) Such other documents as the BOAR
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govern the announcement and admissi
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) The privilege of bein</st
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) The Chairman of the Board may, <s
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SECTION 4. Establishment of a Natio
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d) to formulate, together with the
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Thirty million pesos (P30,000,000)
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Appendix F ANIME SHOWN IN THE PHILI
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Appendix G THE ACADEMY OF VISUAL AR
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