Animation started, in a way, with the invention of Faraday’s Wheel in the 19th Century: from this came the zoetrope (1834) – the spinning wheel with slots, through which one looks to see a galloping horse or a man on a trapeze. Whilst still, the wheel shows only single images, yet when in motion the pictures pasted inside the wheel flow into one moving scene. This concept was taken (to great effect) to the camera upon its invention – Muybridge was the first, setting up a line of cameras each with their individual tripwires. Upon walking across his tripwires, each camera would photograph that split-second of his walk – when these pictures are all placed in series, a walking scene has been created or a person’s walk minutely examined. This concept was played with in true artistic fashion by George Méliès, the creator of various silent films featured in Hugo in 1890 – by fiddling with the sequence, Méliès could make a character disappear and re-appear ten steps away, creating the illusion of magic and demonstrating a primitive form of animation. As such, animation is as focused on timing as it is on drawing.
However, it was McCay, from across the pond, who introduced the portrayal of emotion through animation: the task of the animator is to portray characteristics in a purely visual sense, and McCay’s Gertie the Trained Dinosaur was one of the first to achieve this characterisation showing a drawing that seemed to be thinking as well as moving. The animator, drawing in 2D, must think in 3D – it is here Wilson introduces the concept of the hyper-cube. When we think of 2D, we think of the square; 3D the cube, and 4D is the melding of two cubes into one amalgamation and another dimension. In a way, the animator must switch between different dimensions, and the example given was one of punching: though the animator draws the effect in 2D, the punch is thought of in circles or arcs due to the punch’s path of motion.
It is with these foundations laid down that we come to Walt Disney who introduced believability and genuine emotion into animation with feature films. Budget was a big deal for Disney, as shown by their first production of Alice, which was a mix of live-action (cheaper) and animation (more expensive). In today’s film, there are 24 frames per second, and to reduce the cost and time of animation Disney decided to reduce the drawings to 12 per second. The iconic character of Mickey Mouse was introduced first in Plane Crazy, a silent movie. It is here Wilson claims that the design of Mickey was taken from Ub Iwerks not Disney. Continuing on to the famous Steamboat Willie, Disney tied a musical soundtrack directly the animation – the same formula for Fantasia. With the intersection of music and motion one can look at tap dancing. Fred Astaire was notorious for dancing off-beat, only to occasionally switch onto the beat to great effect. Disney tended to do the visual image on the beat (less exciting, and called “mickey mousing”), using music as both characterisation and aesthetic. There is also the fact that every action in Disney has a corresponding sound: the pulling of Clarabelle the Cow’s tail resulted in a musical ‘moo’. Today, lip-syncing in Disney is often relaxed, as the animators keep the lines of the lips and face vague – both the economise and allow easier dubbing into other languages.
There is, of course, the question of Mickey’s gloves – they held a practical reason (during black and white films, if an object was black Mickey’s hand would disappear upon holding it) but they also link to Mickey’s function as a public figure. It is with this that one could claim Mickey a problematic figure – his gloves and mannerisms mimic the characteristics of the minstrels, last seen in the 70s BBC; minstrels would wear white gloves and often tap dance and sing for entertainment. It was a staple of American Vaudeville entertainment. This characteristic is the only one that Disney cannot sanitise today, as the white gloves are iconic to the character. In other areas, however, there is (and always has been) ongoing sanitisation – potentially offensive sections of Fantasia, for instance, have been quietly redrawn to remove the offending sections, though not the crows in Dumbo. Films like Song of the south have all but disappeared from the Disney canon. As a business, family entertainment is the goal of Disney- and this explains both the sanitisation and the fact that the character of Mickey has changed from the troublemaker in Steamboat Willie to the wholesome soul in modern day films. This was the goal as it (along with another factor) would guarantee Disney success and money. The first way was shown by Snow White: it was the first film to release a soundtrack and related merchandise. The second method is one of morality: most animation that Disney creates holds a didactic function – the films tell stories that reward good behaviour and punish the bad, though Disney claimed he was not in the business of “preaching a message”. There are 5 Disney virtues: the first is kindness (such as Cinderella’s kindness to the animals), the second is perseverance (the prince in Cinderella, for example). The third is faith, with its obvious connotations of religion – the only overtly religious piece of Disney, (overlooking Christian imagery at the end of Fantasia) is Hunchback of Notre Dame but this pushes kindness combined with faith, and if Disney is interested in Belief, it is belief itself- and not a belief in a specific person or thing. Belief in self is allied to belief in a higher power. The final one is family: Aristocats and 101 Dalmatians, for instance, display the ethos that the meaning of family can still be extended, and is not just about blood relatives. There is, moreover, a heavy Protestant work ethic that is present in Disney films, and the most recent Frozen emphasises the dimension of not trusting appearances, first glimpsed in Gaston in Beauty and the Beast but maybe hinted at in the magical witches of both Mary Poppins and Bedknobs and Broomsticks who promote family values and patch together relationships that have gone wrong.
The gospel according to walt.
So just to kick off, is there a reference to adam and eve in the fact that snow white eats a poisoned apple?
Is there a reference to Christ in the initials of Jiminy Cricket?
Jonah and the whale. (Pinocchio)
The Disney gospel is part of most chidren’s earliest teachings.
Young impressionable minds
The amount of time children spend in church or synagogues of temples is dwarfed by the amount of time children spend in front of Disney films.
“One of the most significant shaping forces in the 20th Century.”
“A sacred destination of the first trip to the movies.”
Calvinist paradigm of hard work- rewarded with upward solical mobility/ walt’s rise to prosperity
Disney boycotted by the Washington DC Traditional values Coalition in 1990s (“they’re not fair to the Christian message of life death and eternal life” Revd Clark Whitten of the Calvary Assembly church in Orlando. “they have a gospel- it’s to make money”)
Humanism: when Disneyland opened in Anaheim in 1954 Time magazine called Disney “the poet of the new American Humanism” and says the common symbol of humanity in the struggle against the forces of evil is Mickey Mouse”
It’s not what you believe that is important, but the fact of believing itself is important.
Disney is the perfect example of the protestant work ethic divorced from religious moorings.
Disney choice of magic over religion
VALUES: Good triumphs over evil a consistent set of moral values throughout the movies. Disney personal values and commercial goals
Optimism as a creed (pinoccho)
Miracles (Pinocchio as Jesus: the puppet comes to life and resurrected as boy,)
WALT: didn’t want to single out any single religion . But always designed as a “message” He tells reporter: “we like to have a point of view in our stories not an obvious moral but a worthwhile theme” in 1962: Children are people and they should have to reach to learn about things, to understand things just as adults have to reach if they are to grow in mental statue. Life is composed of lights and shadows and we have to be untruthful, insincere aand saccharine if we are to pretenbd there were no shadows. Most things are good and they are the strongest things; but there are evil things too and you are not doing a child a favour by trying to shield him from reality. The important thing is to teach a child that good can always triumph over evil and that is what our pictures attempt to do.”
Sam Goldwyn: Pictures are for entertainment- messages should be sent by western union.
FAITH: Faith in something greater than self? Combined with faith in self
Magic allows you to see a better life and apply the vision to real life.
An agent of transformation. The ordinary becomes extraordinary
The little mermaid: challenge of intermarriage
The lion king:the hindu circle of life
MECCA: Disneyland: a place of pilgrimage (parents reconnecting with their childhood) a cartoon fantasy mecca?
RACISM: Racist representation esp in DUMBO and fantasia (censored in Fantasia but not in Dumbo) song of the south and the three caballeros
DEUS EX MACHINA: No obvious judeo-christian iconography but Greek magic: universal device from ancient greece
Censorship: note the general anxiety about racism: song of the south, dumbo fantasia- cleaning up of Aladdin’s anti-muslim jokes and the toning down of homophobia (see the beginning of Der Fuhrer’s face) to the extent that the remake of Beauty and the beast contains a genuine gay subplot.
The akedah: snow white dispatched to be killed in the forest. Sacrifice of Isaac by Abraham
The huntsman returns with the heart of a boar. (Abraham sacrifices a ram)
Whistle while you work: the work ethic during the great depression
The dwarfs are also hard workees, singing while the work.\snow white- just like an angel. See Rhapsody in Blue in Fantasia 2000
Cleanliness- next to godliness?
There was a sequence where Snow white teaches the dwarves how to pray- abandoned. But snow white prays- she asks for blessings on the seven little men who have been so kind to me and please make grumpy like me” next day when grumpy gets a kiss, she says” why grumpy you DO care”
Escapist and androcentric.
PINOCCHIO- fate not god steps in when things get bad: the blue fairy
As reward to Gepetto for bringing happiness to others
But the outcome will be entirely up to you. (Good works)
Jiminy cricket became an alternative exclamation to Jesus Christ in the US.
He is the still small voice.
The blue fairy as the Virgin mary?
Her appearance in the film is like the appearance of Mary at Fatima and La Salette BLUE and WHITE!
It’ll take a mira le to get out of here (says Jiminy in Stromboli’s caravan, then the blue fairy arrives. (A lie keeps growing until it’s as plain as the nose on your face”
Jiminy Cricket defines temptation as The wrong things that seem right at the time.
They like him he’s a success. Gosh. Maybe I was wrong. I guess he won’t need me anymore. What does an actor need with a conscience?”
“Give a bad boy enough rope and hell soon make a jackass of himself.”
The essence of the Disney religion is not theology but morality: prove yourself brave truthful and unselfish and someday you will be a real boy. Resurrection. Awake Pinocchio awake!
NB: difference between snow white and Pinocchio is that Pinocchio is active in his salvation and snow white is entirely passive.
FANTASIA: Dancing toadstools- racist presentation of chinese figures probably intended to be amiable not malevolent. It is still a brilliant piece of animation
The sorcerer’s apprentice: work-shy mickey gets his comeuppance. (work ethic)
The image has been taken by Disney and turned mickey into a high priest of magic in the Disney kingdom. (Disney’s mecca)
Ave maria; the most explicit reference to religion until hunchback of notre dame
The text is an odd interperattion of the latin: the prince of peace your arms embrace while hosts ofdarkness fade and cover, Oh save us mother full of grace in life, and in our dying hour ave maria.
DUMBO: Mother love
Note the workers putting up te circus sing while they work: they “slave until we’re almost dead”
In the parade, dumbo slips and a boy laughs at him. The boy ALSO has improbably big ears.
BAMBI: man in the forest song at the beginning: “love is a song that never ends”
Carefree childhood and dependence on mother is finished with the greatest tear-jerker in the history of cinema:
Your mother cannot be with you anymore. Earlier they had been told of “Man in the forest”now it seems there is a man shooting out of season. Two shots and the second one is fatal.
It is man.. he is here again. There man be many this time. We must go deep into the forest. Hurry. Follow me”
An unspoilt eden is destroyed by man.
Cinderella: if you keep on believing, the dream you wish for will come true.
Cinderella has friends- birds mice etc.. her kindness in helping small rodents explains why the animals are so keen to help her wit housework
Elsa in FROZEN, BEDKNOBS and POPPINS- all autonomous witches, (perhaps it’s a witch. Don’t be sily witches have brooms) and spinsters. establishing world order rather than destroying it. Actually both Poppins and Eglantine are outsiders reestablish family values. And the sisters in Frozen are estranged …
A magical nanny and a reluctant nanny
(above: Milt Kahl images from Mary Poppins)
Religious iconography in Mary poppins;
1) mary poppins is Mary the mother of jesus, practically perfect. The immaculate conception. Above all other women etc.
2) 2) a spoonful of sugar: the Franciscan nod: Mary talks to the birds (feed the birds song with encircling chorus of doves)
3) 3) George banks gives tuppence to the bank chairman- render unto Caesar what is Caesar’s- capitalist banker to family man/ charity… the widow’s mite
4) Alternative view: a scurrilous interpretation
nanny shows up and changes a married man’s life but has to leave because she is pregnant. And no, she doesn’t change “the family” since the wife and kids are still the mindless dimwits at the end of the movie that they were in the beginning. And how do we know that Mary is pregnant? Because of the way she hold hers hands folded over her stomach [at the top of the staircase] when Mr. Banks finally emerges from the basement with the mended kite. So, while most of us think that Mary is misty eyed over Jane & Michael as she stands on the doorstep, the truth is: she is affected by having to say goodbye to Mr. Banks.
Other religious imagery in Disney:
Fantasia ending (ave maria triumphs over Chernabog. But it is nature that is triumphant as also in the end of Fantasia 2000)
Bambi and the Lion King– the role of the father figure, in the Lion king is actually a voice from the dead.
Self sacrifice as a form of redemption: – Baloo, the great dane in lady and the tramp, King Triton in The little mermaid, the beast in Beauty and the beast, and Pinocchio
Who has the right to make decisions. This is really what lies behind Luther’s reformation. It is 500 years today since Luther nailed his theses to the door. Disestablishmentism, the possibility of the separation of church and state, secularism, the rise of nationalism and so on, pushed forward by advances in printing which unified german language, arguably paved the way for Shakespeare, established ideas of individualism and led to general agreements on spelling and grammar. New technology, democracy and so on.
That said, Luther’s sense of humour, general manner and anti-semitism do not commend him much. It is entertaining to reflect that in writing against Luther (or getting Thomas More to write against Luther), Henry VIII earnt the crown the title “Defensor fidei” from Leo X in 1521, something retained today by the present queen (by an act of parliament to Edward, his son) and printed on all our coins. Ironic that having earnt this title by writing of the value of the 7 sacraments, most of them would be ditched in the established Anglican church. When Luther responded to henry’s initial book, Thomas More certainly wrote the reply, “Responsio ad Lutherum”.
On 2nd November, it will be 100 years since the Balfour Declaration:
The Balfour declaration followed shortly after the Battle of Beersheba, one of the last great cavalry charges in history, that led the way to General Allenby’s entry to Jerusalem. Like the Gallipoli campaign, this was an Australian/ New Zealand effort though there is a significant role played by the 60th (London) and 75th divisions of the XX corps and the Egyptian Expeditionary force (commanded by Allenby). But it was the Australian cavalry charge weilding bayonets that carried the day. On the Ottoman side was Enver Pasha
Yesterday I was watching Mrs C on the Andrew Marr show. fascinating and brilliant performance.
Here are some more pictures
Brahms above – Here are a few more pictures
Here are some recent sketches
Some time ago, I was asked to draw up guidance for a filmed version of Philip Pullmann’s book. I found some of my notes today and thought they looked entertaining-
The Director/Producer had a background in tv comedy and Philip Pullmann pulled out.
Essential problem lies in the history of Christ on film:
The life of Brian dominates any effort to film the Christ story, and the Monty Python analysis is classic- that everyone speaks sententiously…
Either Avoid entirely or fully embrace humour
The passion of the Christ ducks this choice by doing really nasty violence, which is another solution!
Is there humour in Pullman? Certainly, but much of it is the narrative voice which does not translate naturally into film.
Historical issues: can film help? Yes:
1) fill out the multicultural environment of Nazareth
a) Geography: Nazareth is Very close to Sepphoris/zippori (5 km away)
It was considered the capital of Galilee and as such, the absence of any ref in the bible is telling. (Herod the Great makes Sepphoris the capital in 47BC, tho the ROMANS already called it the effective capital from conquest in 55BC). It was recaptured by Jewish zealots in 46 and then taken by Rome again under Verrus, burnt and all inhabitants enslaved. Herod Antipas rebuilt and fortified the city. It was then called Autokratoris (autonomous city)
A direct road connects Sepporis(Saffuriyya) to Legio (Meggido) the military Headquarters in Galilee and also to the sea to Tiberias.
Now, although it was Legio that was the major garrison, the Talmud records on a number of occasions that Sepphoris was the major garrison of the area (b Shabbat 121a: this is about a non-Jew who helps extinguish a fire on the Sabbath. “it once happened that a fire broke out in the courtyard of Yosef ben Shimai in Shihin. The Roman garrison (Gastra) of Sepphoris came to extinguish it because Yosef was the guardian of the kind, but he did not allow them to because of honour for the Sabbath. A miracle took place and rain fell and extinguished the fire….”
In AD 67, there was a garrison of 6000 soldiers in Sepphora mentioned by Josephus under the leadership of Placidus. Otheres followed so that in the end, when Titus arrived the garrison numbered some 60,000 men. This may have influenced Talmudic accounts…
b) Mary’s story:
Silence may suggest that the story of Mary’s rape/ seduction by a man the Talmud calls “Ben Pandera” (son of a Panther) or Pantheus, a Roman legionary, may be true. (this is the section from the Talmud Shabbath 104b tractate:
Rabbi Hisda said: ‘The husband [of his mother] was Stada, the biological father, Pandera…The mother [yet another rabbi says] was Miriam, the women’s hairdresser…It’s like they say in [the Babylonian yeshiva town of] Pumbedita: She cheated on her husband.’
Confusion with MAGDALENE
The Aramaic word M’gadla is “hairdresser” so there is confusion in this story between Miriam/mary the mother of Jesus and Mary magdalen.
Pantera may be a joke about “parthenos”, virgin. The greek work Parthenos was apparently very difficult for an Aramaic speaker to pronounce and “Panther” became a mangled corruption.
There is also a reference in ORIGEN that the Jews claim Jesus was the son of a married Jewish woman and her Roman lover
The Talmudic story is set in the 2nd Century but the writing seems to go back only to the 6th Century
2) Other sects:
Essenes: meaning expectant. John the Baptist may have been an essene. Was Jesus an essene? (Idea of John the Baptist as an essene is certainly this is implicit in Kazanzakis)
DEAD SEA SCROLLS and NAG Hammdi library: essene scrolls
dead sea scrolls hidden around 70 AD
Nag hammadi library hidden around 200AD to keep away from Irenaeus’ heresy hunt
Archaeology: ossiaries have been found in Talpiot with names of Miriam, Joseph, Joshua and James
Gnostics. A great scene in the book (Christ and the prostitute) suggests Paulician, Waldensian or cathar beliefs about degradation of the body to hasten the judgement,
(in the East, there was a similar heresy called the EUCHITES)
Rasputin’s sect were called :”the men of God” or Khlysty and they had naked parties, singing, drinking and dancing onto a trance-like state followed by degenerate parties which led to pregnancies. The resulting children were said to be “begotten by the Holy spirit”!!
GREEK! establish Christ as a Greek name, why would Mary opt for a Greek (ie: Roman) name.
(remember the lingua Latina of Ancient Rome was Greek…)
Maybe the Magi speak to Mary in Greek…
Jesus is sometimes referred to in Yiddish as Yoyzl (Hebrew name would be Yeshu, a shortened version of Joshua) Yoske Pandre, little Jo (yoysif) Today, rabbis will say that the word Yeshu is an acronym for “y’mach sh’mo ve-zichrono”, may his name be forever forgotten.
Again, links to Sepphoris would allow for greater use of Greek.
Sepphoris represents the urban elite: Jesus is described as “a friend of tax collectors and sinners and there was a rich young man in the audience (Mk 10:17-22) and a tax collector among the apostles (Mark 2: 13-17); there is even a steward of the royal household among the followers( Chuza, steward to Herod Antipas who is rebuilding Sepphoris…luke 8:3)… does that imply he dined in Sepphoris?? Grin…(maybe he visited John in prison there: Matt 11:2)
Capernaum: needs to be brought into the story. This is where Jesus “settled down”
Fisherman (Matt 4:12-22)
Toll house (mark 2:13-14)
Centurion garrisoned there (John 4:46-54)
Ambiguity : need to preserve ambiguity of the angel/ stranger. Maybe link to soldier Ben Pantera.
Pullman explains the temptation story but not the prayer in Gethsemane. Could the angel be linked to this prayer as a dialogue?
The gethsemane monologue is very important in turning Jesus into a wholly likeable figure.
What should have been, improving the narrative – think of the trinity addition to end of Matthew 28. 19..(vs Acts 2.38 baptism in Jesus’ name only…) no texts contain chapter 28 before 4th century tho the trinitarian formula linked to this text to baptize existed by the time of Ignatius of Antioch, letter to the Philippians (107-112), Irenaeus Against Heresies (130-200) and Tertullian (He commanded the eleven others, on His departure to the Father, to “go and teach all nations, who were to be baptized into the Father, and into the Son, and into the Holy Ghost“) the Prescription Against Heretics 160-220.
Albert Schweitzer (1906) thinks Jesus was deluded, thought the kingdom would come soon and thought he would usher it in as a triumphant messiah. He expected to be saved from the cross. I think this is the source of much of the Pullman book. What Schweitzer wrote still has relevance today and anyone writing about Christology or the “life of Jesus” is frankly writing footnotes to Schweitzer.
It is Schweitzer who inspires kazanzakis.
Christ is Judas. Christ is a nickname. A fairly routine idea actually and also routine would be the idea thatJesus is the twin of Thomas- hence the name didymus, “Twin”
I have been drawing the opening sequence for my documentary about Edward Lear, “Following Lear”. Here is the latest version with some detail:
It is a complex scene featuring a swing in a music hall.
One of my early memories of watching black and white tv was of a girl on a swing in “the Good Old Days”. I think that swing was brought out on a number of occasions actually, and at least once, in the 25th Anniversay season, Les Dawson was strapped to it in drag. It was generally there for the song “Swing me just a little bit higher, Obadiah do”. It made a lyric loaded with innuendo seem homely and very jolly.
The music hall was full of daring routines and “the Good Old days” captured some of that spirit throwing acrobats and trapeze artistes directly into the auditorium. In the mid 19th Century, there was a craze for tightrope walking over the heads of the audience. Brilliant! I wonder how often there were accidents?
One of the early films made by Dame Joan Collins in 1955 was about Evelyn Nesbit Thaw, tied up in a messy muder trial and called “the Girl in the red velvet swing”. Of course, at a time when she was dazzling in BA and Cinzano adverts, she went on to make a slightly more scandalous film featuring an aquatic swing that arguably re-ignited her career, was based on a book by her sister Jackie, and somewhat incongruously, propelled her as staple fodder for family viewing in nearly a decade of “Dynasty”. What seemed very daring in the “Stud” and the “Bitch”, however, would today seem tame, and the thought of an A- grade star like Joan Collins getting involved in such stuff would no longer raise an eyebrow, particularly after Gielgud, Helen Mirren and O’Toole romped through “Caligula” at the end of the 80s.
I like the “Girl in the Red Velvet swing” though; it treats the subjects rather better than the subsequent film “Ragtime” which is both pedestrian and laboured. The publicity photos for La Collins, moreoever, are a treat. They are even better than the movie! Doesn’t she look radiant!
There is also a swing scene, though fairly modest in “the Boyfriend”, designed by Tony Walton and a great scene in an early Angela Lansbury film,”Till the Clouds roll by” .
I think I have now looked at almost all the swings in the movies!
The problem with swings is that every single frame represents a change in perspective- a nighmare for 2d drawing and I have had a few attempts so far. I am quietly pleased with the lastest effortwhich I will work on over the next month.
The music is by David Watson and the song is sung by Thomasin Tresize. If the spirit of the animation is a bit racy, I suppose that is to do with Joan Collins as much as with the hint of naughtiness that Tom suggests as she sings it!
I think it is meditative of course…. I tried to time the swing to the bars of music and it looks too premeditated- a bit like an early Mickey Mouse film. The idea of timing animation to hit the beat gave the whole screen animation/ music industry a very bad name, and it is bizarre that this was taking place at exactly the same time that Astaire was developing his technique of dancing OFF the beat. It’s when the dancer hits the beat at a specific moment that the magic happens. So the swinging motion is now independent of the beat (just).
Here’s the sequence partly storyboarded:
and here is an early sketch: