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Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a work which demonstrated McCay's mastery of color and linear perspective. At the same time, McCay was doing chalk talks on the vaudeville circuit. Between 1911 and 1921 he produced ten animated films; these included Gertie the Dinosaur, which he used as an interactive part of his vaudeville act. McCay joined William Randolph Hearst's chain of newspapers in 1911, after which his comic strip, vaudeville, and animation work was gradually curtailed as Hearst expected him to devote his energies to editorial cartooning.
In his drawing, McCay made bold, prodigious use of linear perspective such as in detailed architecture and cityscapes. He textured his editorial cartoons with fine hatching, and made color a central element in Little Nemo. The technical level of McCay's animation was not matched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that became standard. His comic strip work has influenced generations of artists, including William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware, Bill Plympton and Bill Watterson.
Like all of Winsor McKay's cartoons, "How a Mosquito Operates" uses his incredible artistic talent to its fullest and contains a surprising amount of wit for such a simple, short subject. Like his newspaper cartoons, McKay's animated films are distinctive in their art and humor, but the animated films are especially interesting because they lie at the very root of cartoons. Gags that are still being used today appear in this little gem. The collected works that contains Mosquito provides an amazing insight into a brand new art form that had unbounded possibilities in the early 1900s, possibilities that arguably are still unfolding today.
The techniques employed here are very good, making this film very good to look at even today in a sophisticated era whose animated films have the best techniques, the most interesting stories and all of that. The way the story was told was incredibly original, using comical effects (the mosquito doesn't fly to get into the apartment, he climbs the door and enters into a passage, very funny moment) and believe me it's great for educational purposes. If a kid asks you how and why a mosquito operates instead of telling a boring and long conversation about the issue show to the kid this animation. It will present some education and laughs at the same time.
So why is it STILL a worthwhile film? Well, it's so early and in its day it was considered state of the art. Plus, the film's creator, Winsor McCay, was responsible for some of the first animated heroes--in the forms of Gertie the Dinosaur and Little Nemo. So, because of this very important and impressive pedigree, this film is of great importance to animators, historians and Cinephiles alike. For what it is (an early experimental film), it is pretty good. Plus, without films like this, later more fleshed out cartoons wouldn't have been possible. Interesting and unique, that's for sure.
Resources: Wikipedia.org, imdb.com
New soundtrack and dubbing: HandyCinema
Music : Kevin Mac Leod (incompetch.com) licensed under Creative Commons licence: Attribution 3.0 Unported (CC BY 3.0). http://creativecommons.org/licenses/by/3.0/
- published: 15 Jan 2014
- views: 2970
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action.
The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely.
What exists of the movie doesn't last very long, but it tells enough of a story to show what the whole might have been like and to make it worth seeing.
'The Centaurs' was a strange project for McCay to have undertaken and like some other McCay animations, 'The Centaurs' was a project that he never finished: the existing footage is almost certainly all that was ever completed.
This is a very pretty cartoon to watch, as the centaurs move gracefully and are drawn in a sort of romanticized Art Nouveau-style
Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a fantasy strip in an Art Nouveau style, about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit.
McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; Gertie the Dinosaur was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania (1918), a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations.
In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.
Ressources: Wikipedia.org, imdb.com
Soundtrack and dubbing: Cinema History Channel
The soundtrack is a derivative work of Kevin MacLeod songs : Arcadia, Frost Waltz (http://www.incompetech.com/music/royalty-free/ ), licensed under CC BY 3.0 licence, http://creativecommons.org/licenses/by/3.0/. No changes were made to the original music.
- published: 07 Sep 2015
- views: 2550
Sammy
Sammy is a nickname, frequently for people with the name Samuel, and also an English spelling of the Arabic name Sami. It is also occasionally found as a surname.
People
Music
Sports
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Sammy
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Little
Little is a surname in the English language. The name is ultimately derived from the Middle English littel, and the Old English lȳtel, which mean "little". In some cases the name was originally a nickname for a little man. In other cases, the name was used to distinguish the younger of two bearers of the same personal name. Early records of the name include: Litle, in 972; Litle, in about 1095; and le Lytle, in 1296. The surname has absorbed several non English-language surnames. For example, Little is sometimes a translation of the Irish Ó Beagáin, meaning "descendant of Beagán". Little can also be a translation of the French Petit and Lepetit, as well as other surnames in various languages with the same meaning ("little"), especially the German name Klein during World War II.
People
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Little
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Sneeze
A sneeze, or sternutation, is a semi-autonomous, convulsive expulsion of air from the lungs through the nose and mouth, usually caused by foreign particles irritating the nasal mucosa. A sneeze expels air forcibly from the mouth and nose in an explosive, spasmodic involuntary action resulting chiefly from irritation of the nasal mucous membrane. Sneezing is possibly linked to sudden exposure to bright light, sudden change (fall) in temperature, breeze of cold air, a particularly full stomach, or viral infection, and can lead to the spread of disease.
The function of sneezing is to expel mucus containing foreign particles or irritants and cleanse the nasal cavity. During a sneeze, the soft palate and palatine uvula depress while the back of the tongue elevates to partially close the passage to the mouth so that air ejected from the lungs may be expelled through the nose. Because the closing of the mouth is partial, a considerable amount of this air is usually also expelled from the mouth. The force and extent of the expulsion of the air through the nose varies.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Sneeze
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Little Sammy Sneeze
Little Sammy Sneeze was a comic strip by American cartoonist Winsor McCay. In each episode the titular Sammy sneezed himself into an awkward or disastrous predicament. The strip ran from July 24, 1904, until December 9, 1906, in the New York Herald, where McCay was on the staff. It was McCay's first successful comic strip; he followed it with Dream of the Rarebit Fiend later in 1904, and his best-known strip Little Nemo in Slumberland in 1905.
In contrast to the imaginative layouts of Little Nemo, Sammy Sneeze was confined to a rigid grid and followed a strict formula: Sammy's sneeze would build frame by frame, contorting the protagonist's face until it erupted in the second-to-last panel. In the closing panel he suffered the consequences—often a kick in the rear. McCay targeted middle-class pretensions such as consumerism and squeamishness over bodily functions, while reaffirming the social order by ensuring that Sammy received punishment.
McCay's artwork was finely detailed and highly accurate in its persistent repetition. He delved into modernist experimentation, shattering fourth walls and even the strip's panel borders. The panel-by-panel buildup displayed McCay's concern with depicting motion, a concern that was to culminate in his pioneering animated films of the 1910s, such as Gertie the Dinosaur (1914).
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Little_Sammy_Sneeze
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Little Nemo
Little Nemo is a fictional character created by American cartoonist Winsor McCay. Nemo was originally the protagonist of the comic strip Little Nemo in Slumberland. The full-page weekly strip depicted Nemo having fantastic dreams that were interrupted by his awakening in the final panel. The strip is considered McCay's masterpiece for its experiments with the form of the comics page, its use of color, its timing and pacing, the size and shape of its panels, perspective, architectural and other detail.
Little Nemo in Slumberland ran in the New York Herald from October 15, 1905, until July 23, 1911; the strip was renamed In the Land of Wonderful Dreams when McCay brought it to William Randolph Hearst's New York American, where it ran from September 3, 1911 until July 26, 1914. When McCay returned to the Herald in 1924, he revived the strip, and it ran under its original title from Aug 3, 1924, until December 26, 1926, when McCay returned to Hearst.
Concept
A weekly fantasy adventure, Little Nemo in Slumberland featured the young Nemo ("No one" in Latin) who dreamed himself into wondrous predicaments from which he awoke in bed in the last panel. The first episode begins with a command from King Morpheus of Slumberland to a minion to collect Nemo. Nemo was to be the Princess of Slumberland's playmate, but it took months of adventures before Nemo finally arrived; a green, cigar-chewing clown named Flip was determined to disturb Nemo's sleep with a top hat emblazoned with the words "Wake Up". Nemo and Flip eventually become companions, and are joined by an African Imp whom Flip finds in the Candy Islands. The group travels far and wide, from shanty towns to Mars, from Jack Frost's palace to the bizarre architecture and distorted funhouse-mirror illusions of Befuddle Hall.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Little_Nemo
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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5:37Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gemWinsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a work which demonstrated McCay's mastery of color and linear perspective. At the same time, McCay was doing chalk talks on the vaudeville circuit. Between 1911 and 1921 he produced ten animated films; these included Gertie the Dinosaur, which he used as an interactive part of his vaudeville act. McCay joined William Randolph Hearst's chain of newspapers in 1911, after which his comic strip, vaudeville, and animation work was gradually curtailed as Hearst expected him to devote his energies to editorial cartooning. In his drawing, McCay made bold, prodigious use of linear perspective such as in detailed architecture and cityscapes. He textured his editorial cartoons with fine hatching, and made color a central element in Little Nemo. The technical level of McCay's animation was not matched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that became standard. His comic strip work has influenced generations of artists, including William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware, Bill Plympton and Bill Watterson. Like all of Winsor McKay's cartoons, "How a Mosquito Operates" uses his incredible artistic talent to its fullest and contains a surprising amount of wit for such a simple, short subject. Like his newspaper cartoons, McKay's animated films are distinctive in their art and humor, but the animated films are especially interesting because they lie at the very root of cartoons. Gags that are still being used today appear in this little gem. The collected works that contains Mosquito provides an amazing insight into a brand new art form that had unbounded possibilities in the early 1900s, possibilities that arguably are still unfolding today. The techniques employed here are very good, making this film very good to look at even today in a sophisticated era whose animated films have the best techniques, the most interesting stories and all of that. The way the story was told was incredibly original, using comical effects (the mosquito doesn't fly to get into the apartment, he climbs the door and enters into a passage, very funny moment) and believe me it's great for educational purposes. If a kid asks you how and why a mosquito operates instead of telling a boring and long conversation about the issue show to the kid this animation. It will present some education and laughs at the same time. So why is it STILL a worthwhile film? Well, it's so early and in its day it was considered state of the art. Plus, the film's creator, Winsor McCay, was responsible for some of the first animated heroes--in the forms of Gertie the Dinosaur and Little Nemo. So, because of this very important and impressive pedigree, this film is of great importance to animators, historians and Cinephiles alike. For what it is (an early experimental film), it is pretty good. Plus, without films like this, later more fleshed out cartoons wouldn't have been possible. Interesting and unique, that's for sure. Resources: Wikipedia.org, imdb.com New soundtrack and dubbing: HandyCinema Music : Kevin Mac Leod (incompetch.com) licensed under Creative Commons licence: Attribution 3.0 Unported (CC BY 3.0). http://creativecommons.org/licenses/by/3.0/ -
0:21Sammy Sneeze
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Sammy the dog sneezes -
0:27Baby Sammy Sneezes Twice
Baby Sammy Sneezes TwiceBaby Sammy Sneezes Twice
Managed to catch my 20 week old son sneezing, twice! -
0:16baby sneezing
baby sneezingbaby sneezing
little Braden trying to sneeze -
2:32The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoonThe Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action. The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely. What exists of the movie doesn't last very long, but it tells enough of a story to show what the whole might have been like and to make it worth seeing. 'The Centaurs' was a strange project for McCay to have undertaken and like some other McCay animations, 'The Centaurs' was a project that he never finished: the existing footage is almost certainly all that was ever completed. This is a very pretty cartoon to watch, as the centaurs move gracefully and are drawn in a sort of romanticized Art Nouveau-style Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a fantasy strip in an Art Nouveau style, about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit. McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; Gertie the Dinosaur was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania (1918), a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations. In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard. Ressources: Wikipedia.org, imdb.com Soundtrack and dubbing: Cinema History Channel The soundtrack is a derivative work of Kevin MacLeod songs : Arcadia, Frost Waltz (http://www.incompetech.com/music/royalty-free/ ), licensed under CC BY 3.0 licence, http://creativecommons.org/licenses/by/3.0/. No changes were made to the original music. -
0:09Sam sneezes
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0:27Eric Sneezing
Eric SneezingEric Sneezing
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Little Sammy Sneeze
published: 31 May 2017 -
Little Sammy Sneeze
published: 13 Apr 2017 -
Little Sammy Sneeze
published: 19 Apr 2017 -
Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signatur...
published: 15 Jan 2014 -
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Baby Sammy Sneezes Twice
Managed to catch my 20 week old son sneezing, twice!
published: 04 Oct 2010 -
baby sneezing
little Braden trying to sneeze
published: 02 Sep 2010 -
The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action. The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely. What exists of the movie doesn't last very long, but it tells enough of a story to show wh...
published: 07 Sep 2015 -
Sam sneezes
Sam sneezes
published: 30 Mar 2008 -
Little Sammy Sneeze
- Order: Reorder
- Duration: 0:30
- Updated: 31 May 2017
- views: 0
- published: 31 May 2017
- views: 0
Little Sammy Sneeze
- Order: Reorder
- Duration: 0:21
- Updated: 13 Apr 2017
- views: 3
- published: 13 Apr 2017
- views: 3
Little Sammy Sneeze
- Order: Reorder
- Duration: 0:36
- Updated: 19 Apr 2017
- views: 4
- published: 19 Apr 2017
- views: 4
Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
- Order: Reorder
- Duration: 5:37
- Updated: 15 Jan 2014
- views: 2970
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1...
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a work which demonstrated McCay's mastery of color and linear perspective. At the same time, McCay was doing chalk talks on the vaudeville circuit. Between 1911 and 1921 he produced ten animated films; these included Gertie the Dinosaur, which he used as an interactive part of his vaudeville act. McCay joined William Randolph Hearst's chain of newspapers in 1911, after which his comic strip, vaudeville, and animation work was gradually curtailed as Hearst expected him to devote his energies to editorial cartooning.
In his drawing, McCay made bold, prodigious use of linear perspective such as in detailed architecture and cityscapes. He textured his editorial cartoons with fine hatching, and made color a central element in Little Nemo. The technical level of McCay's animation was not matched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that became standard. His comic strip work has influenced generations of artists, including William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware, Bill Plympton and Bill Watterson.
Like all of Winsor McKay's cartoons, "How a Mosquito Operates" uses his incredible artistic talent to its fullest and contains a surprising amount of wit for such a simple, short subject. Like his newspaper cartoons, McKay's animated films are distinctive in their art and humor, but the animated films are especially interesting because they lie at the very root of cartoons. Gags that are still being used today appear in this little gem. The collected works that contains Mosquito provides an amazing insight into a brand new art form that had unbounded possibilities in the early 1900s, possibilities that arguably are still unfolding today.
The techniques employed here are very good, making this film very good to look at even today in a sophisticated era whose animated films have the best techniques, the most interesting stories and all of that. The way the story was told was incredibly original, using comical effects (the mosquito doesn't fly to get into the apartment, he climbs the door and enters into a passage, very funny moment) and believe me it's great for educational purposes. If a kid asks you how and why a mosquito operates instead of telling a boring and long conversation about the issue show to the kid this animation. It will present some education and laughs at the same time.
So why is it STILL a worthwhile film? Well, it's so early and in its day it was considered state of the art. Plus, the film's creator, Winsor McCay, was responsible for some of the first animated heroes--in the forms of Gertie the Dinosaur and Little Nemo. So, because of this very important and impressive pedigree, this film is of great importance to animators, historians and Cinephiles alike. For what it is (an early experimental film), it is pretty good. Plus, without films like this, later more fleshed out cartoons wouldn't have been possible. Interesting and unique, that's for sure.
Resources: Wikipedia.org, imdb.com
New soundtrack and dubbing: HandyCinema
Music : Kevin Mac Leod (incompetch.com) licensed under Creative Commons licence: Attribution 3.0 Unported (CC BY 3.0). http://creativecommons.org/licenses/by/3.0/
https://wn.com/Winsor_Mccay_1912_How_A_Mosquito_Operates_An_Incredible_Artistic_Early_Animated_Film_A_Little_Gem
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a work which demonstrated McCay's mastery of color and linear perspective. At the same time, McCay was doing chalk talks on the vaudeville circuit. Between 1911 and 1921 he produced ten animated films; these included Gertie the Dinosaur, which he used as an interactive part of his vaudeville act. McCay joined William Randolph Hearst's chain of newspapers in 1911, after which his comic strip, vaudeville, and animation work was gradually curtailed as Hearst expected him to devote his energies to editorial cartooning.
In his drawing, McCay made bold, prodigious use of linear perspective such as in detailed architecture and cityscapes. He textured his editorial cartoons with fine hatching, and made color a central element in Little Nemo. The technical level of McCay's animation was not matched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that became standard. His comic strip work has influenced generations of artists, including William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware, Bill Plympton and Bill Watterson.
Like all of Winsor McKay's cartoons, "How a Mosquito Operates" uses his incredible artistic talent to its fullest and contains a surprising amount of wit for such a simple, short subject. Like his newspaper cartoons, McKay's animated films are distinctive in their art and humor, but the animated films are especially interesting because they lie at the very root of cartoons. Gags that are still being used today appear in this little gem. The collected works that contains Mosquito provides an amazing insight into a brand new art form that had unbounded possibilities in the early 1900s, possibilities that arguably are still unfolding today.
The techniques employed here are very good, making this film very good to look at even today in a sophisticated era whose animated films have the best techniques, the most interesting stories and all of that. The way the story was told was incredibly original, using comical effects (the mosquito doesn't fly to get into the apartment, he climbs the door and enters into a passage, very funny moment) and believe me it's great for educational purposes. If a kid asks you how and why a mosquito operates instead of telling a boring and long conversation about the issue show to the kid this animation. It will present some education and laughs at the same time.
So why is it STILL a worthwhile film? Well, it's so early and in its day it was considered state of the art. Plus, the film's creator, Winsor McCay, was responsible for some of the first animated heroes--in the forms of Gertie the Dinosaur and Little Nemo. So, because of this very important and impressive pedigree, this film is of great importance to animators, historians and Cinephiles alike. For what it is (an early experimental film), it is pretty good. Plus, without films like this, later more fleshed out cartoons wouldn't have been possible. Interesting and unique, that's for sure.
Resources: Wikipedia.org, imdb.com
New soundtrack and dubbing: HandyCinema
Music : Kevin Mac Leod (incompetch.com) licensed under Creative Commons licence: Attribution 3.0 Unported (CC BY 3.0). http://creativecommons.org/licenses/by/3.0/
- published: 15 Jan 2014
- views: 2970
Sammy Sneeze
- Order: Reorder
- Duration: 0:21
- Updated: 20 Feb 2010
- views: 110
Sammy the dog sneezes
Sammy the dog sneezes
https://wn.com/Sammy_Sneeze
Baby Sammy Sneezes Twice
- Order: Reorder
- Duration: 0:27
- Updated: 04 Oct 2010
- views: 1462
Managed to catch my 20 week old son sneezing, twice!
Managed to catch my 20 week old son sneezing, twice!
https://wn.com/Baby_Sammy_Sneezes_Twice
Managed to catch my 20 week old son sneezing, twice!
- published: 04 Oct 2010
- views: 1462
baby sneezing
- Order: Reorder
- Duration: 0:16
- Updated: 02 Sep 2010
- views: 128
little Braden trying to sneeze
little Braden trying to sneeze
https://wn.com/Baby_Sneezing
little Braden trying to sneeze
- published: 02 Sep 2010
- views: 128
The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
- Order: Reorder
- Duration: 2:32
- Updated: 07 Sep 2015
- views: 2550
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the bac...
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action.
The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely.
What exists of the movie doesn't last very long, but it tells enough of a story to show what the whole might have been like and to make it worth seeing.
'The Centaurs' was a strange project for McCay to have undertaken and like some other McCay animations, 'The Centaurs' was a project that he never finished: the existing footage is almost certainly all that was ever completed.
This is a very pretty cartoon to watch, as the centaurs move gracefully and are drawn in a sort of romanticized Art Nouveau-style
Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a fantasy strip in an Art Nouveau style, about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit.
McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; Gertie the Dinosaur was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania (1918), a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations.
In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.
Ressources: Wikipedia.org, imdb.com
Soundtrack and dubbing: Cinema History Channel
The soundtrack is a derivative work of Kevin MacLeod songs : Arcadia, Frost Waltz (http://www.incompetech.com/music/royalty-free/ ), licensed under CC BY 3.0 licence, http://creativecommons.org/licenses/by/3.0/. No changes were made to the original music.
https://wn.com/The_Centaurs_1921_Winsor_Mccay_An_Unusual_And_Detailed_Piece_Of_Animation_Silent_Cartoon
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action.
The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely.
What exists of the movie doesn't last very long, but it tells enough of a story to show what the whole might have been like and to make it worth seeing.
'The Centaurs' was a strange project for McCay to have undertaken and like some other McCay animations, 'The Centaurs' was a project that he never finished: the existing footage is almost certainly all that was ever completed.
This is a very pretty cartoon to watch, as the centaurs move gracefully and are drawn in a sort of romanticized Art Nouveau-style
Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a fantasy strip in an Art Nouveau style, about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit.
McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; Gertie the Dinosaur was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania (1918), a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations.
In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.
Ressources: Wikipedia.org, imdb.com
Soundtrack and dubbing: Cinema History Channel
The soundtrack is a derivative work of Kevin MacLeod songs : Arcadia, Frost Waltz (http://www.incompetech.com/music/royalty-free/ ), licensed under CC BY 3.0 licence, http://creativecommons.org/licenses/by/3.0/. No changes were made to the original music.
- published: 07 Sep 2015
- views: 2550
Sam sneezes
- Order: Reorder
- Duration: 0:09
- Updated: 30 Mar 2008
- views: 566
Sam sneezes
Sam sneezes
https://wn.com/Sam_Sneezes
Sam sneezes
- published: 30 Mar 2008
- views: 566
-
Little Sammy Sneeze
published: 31 May 2017 -
Little Sammy Sneeze
published: 13 Apr 2017 -
Little Sammy Sneeze
published: 19 Apr 2017 -
Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signatur...
published: 15 Jan 2014 -
-
Baby Sammy Sneezes Twice
Managed to catch my 20 week old son sneezing, twice!
published: 04 Oct 2010 -
baby sneezing
little Braden trying to sneeze
published: 02 Sep 2010 -
The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action. The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely. What exists of the movie doesn't last very long, but it tells enough of a story to show wh...
published: 07 Sep 2015 -
Sam sneezes
Sam sneezes
published: 30 Mar 2008 -
Little Sammy Sneeze
- Order: Reorder
- Duration: 0:30
- Updated: 31 May 2017
- views: 0
- published: 31 May 2017
- views: 0
Little Sammy Sneeze
- Order: Reorder
- Duration: 0:21
- Updated: 13 Apr 2017
- views: 3
- published: 13 Apr 2017
- views: 3
Little Sammy Sneeze
- Order: Reorder
- Duration: 0:36
- Updated: 19 Apr 2017
- views: 4
- published: 19 Apr 2017
- views: 4
Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
- Order: Reorder
- Duration: 5:37
- Updated: 15 Jan 2014
- views: 2970
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1...
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a work which demonstrated McCay's mastery of color and linear perspective. At the same time, McCay was doing chalk talks on the vaudeville circuit. Between 1911 and 1921 he produced ten animated films; these included Gertie the Dinosaur, which he used as an interactive part of his vaudeville act. McCay joined William Randolph Hearst's chain of newspapers in 1911, after which his comic strip, vaudeville, and animation work was gradually curtailed as Hearst expected him to devote his energies to editorial cartooning.
In his drawing, McCay made bold, prodigious use of linear perspective such as in detailed architecture and cityscapes. He textured his editorial cartoons with fine hatching, and made color a central element in Little Nemo. The technical level of McCay's animation was not matched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that became standard. His comic strip work has influenced generations of artists, including William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware, Bill Plympton and Bill Watterson.
Like all of Winsor McKay's cartoons, "How a Mosquito Operates" uses his incredible artistic talent to its fullest and contains a surprising amount of wit for such a simple, short subject. Like his newspaper cartoons, McKay's animated films are distinctive in their art and humor, but the animated films are especially interesting because they lie at the very root of cartoons. Gags that are still being used today appear in this little gem. The collected works that contains Mosquito provides an amazing insight into a brand new art form that had unbounded possibilities in the early 1900s, possibilities that arguably are still unfolding today.
The techniques employed here are very good, making this film very good to look at even today in a sophisticated era whose animated films have the best techniques, the most interesting stories and all of that. The way the story was told was incredibly original, using comical effects (the mosquito doesn't fly to get into the apartment, he climbs the door and enters into a passage, very funny moment) and believe me it's great for educational purposes. If a kid asks you how and why a mosquito operates instead of telling a boring and long conversation about the issue show to the kid this animation. It will present some education and laughs at the same time.
So why is it STILL a worthwhile film? Well, it's so early and in its day it was considered state of the art. Plus, the film's creator, Winsor McCay, was responsible for some of the first animated heroes--in the forms of Gertie the Dinosaur and Little Nemo. So, because of this very important and impressive pedigree, this film is of great importance to animators, historians and Cinephiles alike. For what it is (an early experimental film), it is pretty good. Plus, without films like this, later more fleshed out cartoons wouldn't have been possible. Interesting and unique, that's for sure.
Resources: Wikipedia.org, imdb.com
New soundtrack and dubbing: HandyCinema
Music : Kevin Mac Leod (incompetch.com) licensed under Creative Commons licence: Attribution 3.0 Unported (CC BY 3.0). http://creativecommons.org/licenses/by/3.0/
https://wn.com/Winsor_Mccay_1912_How_A_Mosquito_Operates_An_Incredible_Artistic_Early_Animated_Film_A_Little_Gem
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director of "How a Mosquito Operates" (also known as The Story Of A Mosquito), 1912, was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905--14; 1924--26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
Since a young age, McCay was a prolific, technically dextrous artist. He began his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a work which demonstrated McCay's mastery of color and linear perspective. At the same time, McCay was doing chalk talks on the vaudeville circuit. Between 1911 and 1921 he produced ten animated films; these included Gertie the Dinosaur, which he used as an interactive part of his vaudeville act. McCay joined William Randolph Hearst's chain of newspapers in 1911, after which his comic strip, vaudeville, and animation work was gradually curtailed as Hearst expected him to devote his energies to editorial cartooning.
In his drawing, McCay made bold, prodigious use of linear perspective such as in detailed architecture and cityscapes. He textured his editorial cartoons with fine hatching, and made color a central element in Little Nemo. The technical level of McCay's animation was not matched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that became standard. His comic strip work has influenced generations of artists, including William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware, Bill Plympton and Bill Watterson.
Like all of Winsor McKay's cartoons, "How a Mosquito Operates" uses his incredible artistic talent to its fullest and contains a surprising amount of wit for such a simple, short subject. Like his newspaper cartoons, McKay's animated films are distinctive in their art and humor, but the animated films are especially interesting because they lie at the very root of cartoons. Gags that are still being used today appear in this little gem. The collected works that contains Mosquito provides an amazing insight into a brand new art form that had unbounded possibilities in the early 1900s, possibilities that arguably are still unfolding today.
The techniques employed here are very good, making this film very good to look at even today in a sophisticated era whose animated films have the best techniques, the most interesting stories and all of that. The way the story was told was incredibly original, using comical effects (the mosquito doesn't fly to get into the apartment, he climbs the door and enters into a passage, very funny moment) and believe me it's great for educational purposes. If a kid asks you how and why a mosquito operates instead of telling a boring and long conversation about the issue show to the kid this animation. It will present some education and laughs at the same time.
So why is it STILL a worthwhile film? Well, it's so early and in its day it was considered state of the art. Plus, the film's creator, Winsor McCay, was responsible for some of the first animated heroes--in the forms of Gertie the Dinosaur and Little Nemo. So, because of this very important and impressive pedigree, this film is of great importance to animators, historians and Cinephiles alike. For what it is (an early experimental film), it is pretty good. Plus, without films like this, later more fleshed out cartoons wouldn't have been possible. Interesting and unique, that's for sure.
Resources: Wikipedia.org, imdb.com
New soundtrack and dubbing: HandyCinema
Music : Kevin Mac Leod (incompetch.com) licensed under Creative Commons licence: Attribution 3.0 Unported (CC BY 3.0). http://creativecommons.org/licenses/by/3.0/
- published: 15 Jan 2014
- views: 2970
Sammy Sneeze
- Order: Reorder
- Duration: 0:21
- Updated: 20 Feb 2010
- views: 110
Sammy the dog sneezes
Sammy the dog sneezes
https://wn.com/Sammy_Sneeze
Baby Sammy Sneezes Twice
- Order: Reorder
- Duration: 0:27
- Updated: 04 Oct 2010
- views: 1462
Managed to catch my 20 week old son sneezing, twice!
Managed to catch my 20 week old son sneezing, twice!
https://wn.com/Baby_Sammy_Sneezes_Twice
Managed to catch my 20 week old son sneezing, twice!
- published: 04 Oct 2010
- views: 1462
baby sneezing
- Order: Reorder
- Duration: 0:16
- Updated: 02 Sep 2010
- views: 128
little Braden trying to sneeze
little Braden trying to sneeze
https://wn.com/Baby_Sneezing
little Braden trying to sneeze
- published: 02 Sep 2010
- views: 128
The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
- Order: Reorder
- Duration: 2:32
- Updated: 07 Sep 2015
- views: 2550
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the bac...
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action.
The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely.
What exists of the movie doesn't last very long, but it tells enough of a story to show what the whole might have been like and to make it worth seeing.
'The Centaurs' was a strange project for McCay to have undertaken and like some other McCay animations, 'The Centaurs' was a project that he never finished: the existing footage is almost certainly all that was ever completed.
This is a very pretty cartoon to watch, as the centaurs move gracefully and are drawn in a sort of romanticized Art Nouveau-style
Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a fantasy strip in an Art Nouveau style, about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit.
McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; Gertie the Dinosaur was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania (1918), a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations.
In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.
Ressources: Wikipedia.org, imdb.com
Soundtrack and dubbing: Cinema History Channel
The soundtrack is a derivative work of Kevin MacLeod songs : Arcadia, Frost Waltz (http://www.incompetech.com/music/royalty-free/ ), licensed under CC BY 3.0 licence, http://creativecommons.org/licenses/by/3.0/. No changes were made to the original music.
https://wn.com/The_Centaurs_1921_Winsor_Mccay_An_Unusual_And_Detailed_Piece_Of_Animation_Silent_Cartoon
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action.
The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely.
What exists of the movie doesn't last very long, but it tells enough of a story to show what the whole might have been like and to make it worth seeing.
'The Centaurs' was a strange project for McCay to have undertaken and like some other McCay animations, 'The Centaurs' was a project that he never finished: the existing footage is almost certainly all that was ever completed.
This is a very pretty cartoon to watch, as the centaurs move gracefully and are drawn in a sort of romanticized Art Nouveau-style
Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend.
From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a fantasy strip in an Art Nouveau style, about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit.
McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; Gertie the Dinosaur was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania (1918), a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations.
In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard.
Ressources: Wikipedia.org, imdb.com
Soundtrack and dubbing: Cinema History Channel
The soundtrack is a derivative work of Kevin MacLeod songs : Arcadia, Frost Waltz (http://www.incompetech.com/music/royalty-free/ ), licensed under CC BY 3.0 licence, http://creativecommons.org/licenses/by/3.0/. No changes were made to the original music.
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Sam sneezes
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Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director o...
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Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
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Baby Sammy Sneezes Twice
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The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and ...
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Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
Zenas Winsor McCay (c. 1867--1871 or September 26, 1869 -- July 26, 1934), the director o...
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Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
Winsor McCay-1912-How a Mosquito Operates-An incredible artistic early animated film --A little gem
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Baby Sammy Sneezes Twice
Managed to catch my 20 week old son sneezing, twice!
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The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and ...
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The Centaurs-1921-Winsor McCay- An unusual and detailed piece of animation-Silent cartoon
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Sam sneezes
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