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A cartoon is an animated film, usually a short film, featuring an exaggerated visual style. The style takes inspiration from comic strips, often featuring anthropomorphic animals, superheroes, or the adventures of human protagonists. Especially with animals that form a natural predator/prey relationship (e.g. cats and mice, coyotes and birds), the action often centers on violent pratfalls such as falls, collisions, and explosions that would be lethal in real life.

Analog mechanical animation media that rely on the rapid display of sequential images include the phnakisticope, zoetrope, flip book, praxinoscope, and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on computers, technology such as the animated GIF and Flash animation were developed.

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In addition to short films, feature films, television series, animated GIFs, and other media dedicated to the display of moving images, animation is also prevalent in video games, motion graphics, user interfaces, and visual effects.[1]

During the 1910s, the production of animated "cartoons" became an industry in the US.[4] Successful producer John Randolph Bray and animator Earl Hurd, patented the cel animation process that dominated the animation industry for the rest of the century.[5][6] Felix the Cat, who debuted in 1919, became the first fully realized animal character in the history of American animation.[7]

After working on it for three years, Lotte Reiniger released the German feature-length silhouette animation Die Abenteuer des Prinzen Achmed in 1926, the oldest extant animated feature.[citation needed][11]

The so-called 3D style, more often associated with computer animation, became the dominant technique following the success of Pixar's Toy Story (1995), the first computer-animated feature in this style.[citation needed]

Most of the cel animation studios switched to producing mostly computer-animated films around the 1990s, as it proved cheaper and more profitable. Not only the very popular 3D animation style was generated with computers, but also most of the films and series with a more traditional hand-crafted appearance, in which the charming characteristics of cel animation could be emulated with software, while new digital tools helped developing new styles and effects.[16][17][18][19][20][21]

Animation has been very popular in television commercials, both due to its graphic appeal, and the humour it can provide. Some animated characters in commercials have survived for decades, such as Snap, Crackle and Pop in advertisements for Kellogg's cereals.[28] Tex Avery was the producer of the first Raid "Kills Bugs Dead" commercials in 1966, which were very successful for the company.[29]

Animation has traditionally been very closely related to comic books. While many comic book characters found their way to the screen (which is often the case in Japan, where many manga are adapted into anime), original animated characters also commonly appear in comic books and magazines. Somewhat similarly, characters and plots for video games (an interactive form of animation that became its own medium) have been derived from films and vice versa.[30]

Criticism of animation has been common in media and cinema since its inception. With its popularity, a large amount of criticism has arisen, especially animated feature-length films.[32] Criticisms regarding cultural representation and psychological effects on children have been raised around the animation industry, which some claim has remained politically unchanged and stagnant since its inception into mainstream culture.[33]

Beauty and the Beast was the first animated film nominated for Best Picture, in 1991. Up (2009) and Toy Story 3 (2010) also received Best Picture nominations, after the academy expanded the number of nominees from five to ten.[34]

The creation of non-trivial animation works (i.e., longer than a few seconds) has developed as a form of filmmaking, with certain unique aspects.[35] Traits common to both live-action and animated feature-length films are labor intensity and high production costs.[36]

The most important difference is that once a film is in the production phase, the marginal cost of one more shot is higher for animated films than live-action films.[37] It is relatively easy for a director to ask for one more take during principal photography of a live-action film, but every take on an animated film must be manually rendered by animators (although the task of rendering slightly different takes has been made less tedious by modern computer animation).[38] It is pointless for a studio to pay the salaries of dozens of animators to spend weeks creating a visually dazzling five-minute scene if that scene fails to effectively advance the plot of the film.[39] Thus, animation studios starting with Disney began the practice in the 1930s of maintaining story departments where storyboard artists develop every single scene through storyboards, then handing the film over to the animators only after the production team is satisfied that all the scenes make sense as a whole.[40] While live-action films are now also storyboarded, they enjoy more latitude to depart from storyboards (i.e., real-time improvisation).[citation needed][41]

Another problem unique to animation is the requirement to maintain a film's consistency from start to finish, even as films have grown longer and teams have grown larger. Animators, like all artists, necessarily have individual styles, but must subordinate their individuality in a consistent way to whatever style is employed on a particular film.[42] Since the early 1980s, teams of about 500 to 600 people, of whom 50 to 70 are animators, typically have created feature-length animated films. It is relatively easy for two or three artists to match their styles; synchronizing those of dozens of artists is more difficult.[43]

This problem is usually solved by having a separate group of visual development artists develop an overall look and palette for each film before the animation begins. Character designers on the visual development team draw model sheets to show how each character should look like with different facial expressions, posed in different positions, and viewed from different angles.[44][45] On traditionally animated projects, maquettes were often sculpted to further help the animators see how characters would look from different angles.[46][44]

Unlike live-action films, animated films were traditionally developed beyond the synopsis stage through the storyboard format; the storyboard artists would then receive credit for writing the film.[47] In the early 1960s, animation studios began hiring professional screenwriters to write screenplays (while also continuing to use story departments) and screenplays had become commonplace for animated films by the late 1980s.[citation needed]

Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century.[48] The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper.[49] To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels,[50] which are filled in with paints in assigned colors or tones on the side opposite the line drawings.[51] The completed character cels are photographed one-by-one against a painted background by a rostrum camera onto motion picture film.[52]

The traditional cel animation process became obsolete by the beginning of the 21st century. Today, animators' drawings and the backgrounds are either scanned into or drawn directly into a computer system.[1][53] Various software programs are used to color the drawings and simulate camera movement and effects.[54] The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media with digital video.[55][1] The "look" of traditional cel animation is still preserved, and the character animators' work has remained essentially the same over the past 90 years.[46] Some animation producers have used the term "tradigital" (a play on the words "traditional" and "digital") to describe cel animation that uses significant computer technology.

Examples of traditionally animated feature films include Pinocchio (United States, 1940),[56] Animal Farm (United Kingdom, 1954), Lucky and Zorba (Italy, 1998), and The Illusionist (British-French, 2010). Traditionally animated films produced with the aid of computer technology include The Lion King (US, 1994), The Prince of Egypt (US, 1998), Akira (Japan, 1988),[57] Spirited Away (Japan, 2001), The Triplets of Belleville (France, 2003), and The Secret of Kells (Irish-French-Belgian, 2009).

Full animation is the process of producing high-quality traditionally animated films that regularly use detailed drawings and plausible movement,[58] having a smooth animation.[59] Fully animated films can be made in a variety of styles, from more realistically animated works like those produced by the Walt Disney studio (The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King) to the more 'cartoon' styles of the Warner Bros. animation studio. Many of the Disney animated features are examples of full animation, as are non-Disney works, The Secret of NIMH (US, 1982), The Iron Giant (US, 1999), and Nocturna (Spain, 2007). Fully animated films are often animated on "twos", sometimes on "ones", which means that 12 to 24 drawings are required for a single second of film. [60]

Limited animation involves the use of less detailed or more stylized drawings and methods of movement usually a choppy or "skippy" movement animation.[61] Limited animation uses fewer drawings per second, thereby limiting the fluidity of the animation. This is a more economic technique. Pioneered by the artists at the American studio United Productions of America,[62] limited animation can be used as a method of stylized artistic expression, as in Gerald McBoing-Boing (US, 1951), Yellow Submarine (UK, 1968), and certain anime produced in Japan.[63] Its primary use, however, has been in producing cost-effective animated content for media for television (the work of Hanna-Barbera,[64] Filmation,[65] and other TV animation studios[66]) and later the Internet (web cartoons). 2351a5e196