Final Project

This project will be a clay animation. I would hope it to be as successful as the current fire brigade campaign in Northern Ireland which tries to discourage young people from throwing missiles and interrupting their work when trying to get to and from emergencies. I would hope to follow the style of Tim Burton's Corpse Bride.

Project description:
I intend for this project to promote a healthier attitude towards the use and dangers of all types of fireworks by young people and adults. I would hope to solve the problem of fireworks related accidents such as loss of fingers and burns. This project could be aired on television at schools and on national television. People tend to relate to animations better than actual footage due to the fact that they think ‘it’ll never happen to me!’ If this project even reaches one person and saves them from an awful injury then it will be a success. I would hope that the message will come across as friendly advice rather than a telling off as young people tend to respond better to a kind word of advice rather than a 'don't do that' response. My target audience's age range would be from 7 to 14 as the statisics show that two thirds of injuries due to the misuse of fireworks are to under 18's.

Project aspirations:
I would hope to increase my skills in clay animation as well as integration with other software packages. This will prepare me for designing and creating feature length productions. I should gain the relevant experience and knowledge associated with film and animation. I would hope to learn how all aspects of production are arranged and how to time manage my project to a set deliverable and timeframe.

Storyline:
Scene 1
Barrister is gesturing to the jury and explaining that the youth in question is responsible for the injuries sustained by the victim. The judge is asking the barrister to elaborate on this statement. The barrister directs the jury to listen carefully as he explains how the incident occurred.

Scene 2
The night in question is revisited by the barrister. It shows the defendant and two other youths one of which is the victim meeting up in an alleyway. The defendant and youths are watching the fireworks display. The defendant proceeds to produce a firework and lights the wick and hands it to the victim. On the passing of the firework it explodes in the victim's hand which sustains serious injuries. The defendant runs away leaving the other youth to get help, he goes and phones an ambulance.

Scene 3
The ambulance arrives after having to travel a long distance and takes the victim to hospital. We jump back to the court room where the barrister is asking the defendant if this is what happened and the judge asks for the barrister to continue this sequence of events for the jury. The barrister then proceeds to inform he jury about the night the defendant was arrested.

Scene 4
The police arrive at the defendant's door, they knock and the defendant was asked to come with them to the police station to answer some questions relating to the firework incident earlier that night. The police believe that the defendant is guilty of supplying illegal fireworks which caused the injury to the victim. He was placed in a cell to await the judge in the morning.

Scene 5
We return again to the courtroom and the judge has made up his mind that the evidence show the defendant is guilty as charged and sentences him to 5 years in jail. The defendant pauses at the cell door and says to the camera ‘I wish I never got those fireworks!’

The end

Final piece

First Attempt

After meeting with my supervisor it was decided that the story was not clear enough for younger children to follow. The animation sequence needed to be changed so that the incident occurred first and the courtroom sequences followed. This should provide a much clearer message that if you play with fireworks injuries can happen to anyone and anyone who deals in illegal fireworks will face prosecution and jail time.

Second Attempt

After showing my second iteration of the animation to my supervisor it was decided that the audio needed to flow better and have more effect than just background music. The audio needed to create an atmosphere filled with excitement, tension and fear. My supervisor guided me in how this could be achieved by having volume levels adjusted through out the animation as well as cutting some of the music completely at different points in the story. This was the fifth version of the animation and audio changes.

Final Version

 I believe that this project has successfully achieved the core outcomes of providing viewers with a realistic approach on the misuse of fireworks and the consequences of playing with fireworks. I believe that the animation has been created in the style of Tim Burton's Corpse Bride and the characters are easily identifiable with. I believe that should this animation be shown to the target audience then we could see a vast reduction in injuries sustained when using fireworks.

The dangers of fireworks

Fireworks are a class of explosive pyrotechnic devices used for entertainment purposes. The most common use of a firework is as part of a fireworks display. A fireworks event is a display of the effects produced by firework devices. Fireworks competitions are also regularly held at a number of places. Fireworks take many forms to produce the four primary effects: noise, light, smoke, and floating materials (confetti for example). They may be designed to burn with colored flames and sparks including red, orange, yellow, green, blue, purple, and silver. Displays are common throughout the world and are the focal point of many cultural and religious celebrations.
Fireworks were invented in ancient China in the 7th century to scare away evil spirits, as a natural extension of one of the Four Great Inventions of ancient China, gunpowder. Such important events and festivities as Chinese New Year and the Mid-Autumn Moon Festival were and still are times when fireworks are guaranteed sights. China is the largest manufacturer and exporter of fireworks in the world.
Fireworks are generally classified as to where they perform, either as a ground or aerial firework. In the latter case they may provide their own propulsion (skyrocket) or be shot into the air by a mortar (aerial shell).
The most common feature of fireworks is a paper or pasteboard tube or casing filled with the combustible material, often pyrotechnic stars. A number of these tubes or cases are often combined so as to make, when kindled, a great variety of sparkling shapes, often variously colored. The skyrocket is a common form of firework. The aerial shell, however, is the backbone of today's commercial aerial display, and a smaller version for consumer use is known as the festival ball in the United States.
Ground fireworks, although less popular than aerial ones, create a stunning exhibition. These types of fireworks can produce various shapes, ranging from simple rotating circles, stars and 3D globes.

Fireworks at the London Eye in London on New Year's Eve

The earliest documentation of fireworks dates back to 7th century China where they were first used to frighten away evil spirits with their loud sound and to pray for happiness and prosperity. Chinese children grow up with folk stories about one-footed monsters who could be scared away by roasting bamboo for the purpose of producing a loud bang.

Eventually the art and science of firework making developed into an independent profession. In ancient China, pyrotechnicians (firework-masters) were respected for their knowledge and skill in mounting dazzling displays of light and sound.
In China, fireworks for ceremonies and celebrations were mostly for royalties and the rich before the 14th century. It was only in the Ming Dynasty that any event for common people — a birth, a wedding, a business opening, or a New Year's Eve celebration — became a fitting occasion for fireworks.

Preparing fireworks at Sayn Castle, Germany

Improper use of fireworks may be dangerous, both to the person operating them (risks of burns and wounds) and to bystanders; in addition, they may start fires after landing on flammable material. For this reason, the use of fireworks is generally legally restricted. Display fireworks are restricted by law for use by professionals; consumer items, available to the public, are smaller versions containing limited amounts of explosive material to reduce potential danger. Fireworks may pose a problem for animals, both domestic and wild, who can be terrified by the noise, leading to them running away or hurting themselves on fences or in other ways in an attempt to escape.

A burning ground firework during a traditional Maltese feast.

A ground firework showing various technical parts mentioned in the article, such as the chain and a set of gears.

The grand finale showing also the jets that produce power. A picture taken from the back so the stars and flowers are not so clearly visible.

Pyrotechnical competitions involving fireworks are held in many countries. One of the most prestigious fireworks competition is the Montreal Fireworks Festival, an annual competition held in Montreal, Quebec, Canada. Another magnificent competition is Le Festival d’Art Pyrotechnique held in the summer annually at the Bay of Cannes in Côte d'Azur, France. The World Pyro Olympics is an annual competition amongst the top fireworks companies in the world. It is held in Manila, Philippines. The event is one of the largest and most intense international fireworks competitions.

Fireworks world records

Largest Catherine wheel
A self-propelled vertical firework wheel 25.95 m (85 ft) in diameter was designed by the Newick Bonfire Society Ltd and fired for at least one revolution on 30 October 1999 at the Village Green, Newick, East Sussex, UK.

Largest firework display
The record for the largest firework display consisted of 66,326 fireworks and was achieved by Macedo'S Pirotecnia Lda. in Funchal, Madeira, Portugal, on 31 December 2006.

Longest firework waterfall
The world's longest firework waterfall was the 'Niagara Falls', which measured 3,125.79 m (10,255 ft 2.5 in) when ignited on 24 August 2003 at the Ariake Seas Fireworks Festival, Fukuoka, Japan.

Below is a selection of news and public messages about the use of fireworks:

This is an example of how easy it is to be injured while using fireworks.

Tim Burton

Timothy Walter "Tim" Burton (born August 25, 1958) is an American film director, film producer, writer and artist. He is famous for dark, quirky-themed movies such as Beetlejuice, Edward Scissorhands, The Nightmare Before Christmas, Sleepy Hollow, Corpse Bride and Sweeney Todd: The Demon Barber of Fleet Street, and for blockbusters such as Pee-wee's Big Adventure, Batman, Batman Returns, Planet of the Apes, Charlie and the Chocolate Factory and Alice in Wonderland.  He also wrote and illustrated the poetry book The Melancholy Death of Oyster Boy & Other Stories, published in 1997, and a compilation of his drawings, entitled The Art of Tim Burton, was released in 2009.

Burton has directed 14 films as of 2010, and has produced 10 as of 2009. His next films are a film adaptation of soap opera Dark Shadows, which began production in January 2011 and a remake of his short Frankenweenie, which will be released on October 5, 2012.

Burton was born in 1958, in the city of Burbank, California, to Jean Burton (née Erickson), the owner of a cat-themed gift shop, and Bill Burton, a former minor league baseball player. As a young man, Burton would make short films in his backyard on Evergreen Street using crude stop motion animation techniques or shoot them on 8 mm film without sound. (One of his most famous juvenile films is The Island of Doctor Agor, that he made when he was 13 years old.) Burton studied at the Burbank High School.  He was a very introspective person, and found his pleasure in painting, drawing and watching movies. His future work would be heavily influenced by the works by Edgar Allan Poe that he read, and the horror and science fiction films he watched, such as Godzilla, the films made by Hammer Film Productions, the works of Ray Harryhausen and Vincent Price.

After graduating from Burbank High School with Jeff Riekenberg, Burton attended the California Institute of the Arts to study character animation. Some of his classmates were John Lasseter, Brad Bird, John Musker and Henry Selick. (In the future, Selick and Burton would work together in The Nightmare Before Christmas and James and the Giant Peach.)

Burton graduated from CalArts in 1979. The success of his short film Stalk of the Celery Monster attracted the attention of the Walt Disney Animation Studios, who offered young Burton an animator's apprenticeship at their studio. He worked as an animator, storyboard artist and conceptual artist in films such as The Fox and the Hound, The Black Cauldron and Tron.

While at Disney in 1982, Burton made his first short, Vincent, a six minute black and white stop motion film based on a poem written by the filmmaker, and depicting a young boy who fantasizes that he is his hero Vincent Price, with Price himself providing narration. The film was produced by Rick Heinrichs, whom Burton had befriended while working in the concept art department at Disney. The film was shown at the Chicago Film Festival and released, alongside the teen drama Tex, for two weeks in one Los Angeles cinema. This was followed by Burton's first live-action production Hansel and Gretel, a Japanese-themed adaptation of the Brothers Grimm fairy tale for the Disney Channel, which climaxes in a kung-fu fight between Hansel and Gretel and the witch. Having aired once at 10:30 pm on Halloween 1983 and promptly shelved, prints of the film are extremely difficult to locate, which contributes to the rumor that this project does not exist. (In 2009, the short went on display in the Museum of Modern Art.)

Burton's next live-action short, Frankenweenie, was released in 1984. It tells the story of a young boy who tries to revive his dog after it is run over by a car. It was filmed in black-and-white. After Frankenweenie was completed, Disney fired Burton, under the pretext of him spending the company's resources on doing a film that would be too dark and scary for children to see.

Pursuing then an opportunity to make a full-length film, he was approached by Griffin Dunne to direct the black comedy film After Hours. However, after Martin Scorsese's project The Last Temptation of Christ was cancelled, he showed an interest on directing it, and Burton bowed out in respect for Scorsese.

Pee-wee's Big Adventure

Not long after, actor Paul Reubens saw Frankenweenie and chose Burton to direct the cinematic spin-off of his popular character Pee-wee Herman. Pee-wee Herman gained mainstream popularity with a successful stage show at the Roxy which was later turned into an HBO special. The film, Pee-wee's Big Adventure (1985), was made on a budget of $8 million and grossed more than $40 million at the box office. Burton, a fan of the eccentric musical group Oingo Boingo, asked songwriter Danny Elfman to provide the music for the film. Since then, Elfman has provided the score for all but five of the films Burton has directed and/or produced, those being Cabin Boy, Ed Wood, James and the Giant Peach, Batman Forever and Sweeney Todd: The Demon Barber of Fleet Street.

Beetlejuice

After directing episodes for the revitalized TV series Alfred Hitchcock Presents and Shelley Duvall's Faerie Tale Theatre, Burton received his next big project: Beetlejuice (1988), a supernatural comedy horror about a young couple forced to cope with life after death, as well as a family of pretentious yuppies invading their treasured New England home including their teenage daughter Lydia (Winona Ryder) whose obsession with death allows her to see them. Starring Alec Baldwin and Geena Davis, and featuring Michael Keaton as the obnoxious bio-exorcist Betelgeuse, the film grossed $80 million on a relatively low budget and won a Best Makeup Design Oscar. It would be converted into a cartoon of the same name, with Burton playing a role as executive producer, that would run for four seasons on ABC and later Fox.

Batman

Burton's ability to produce hits with low budgets impressed studio executives, and he received his first big budget film, Batman. When the film opened in June 1989, it was backed by the biggest marketing and merchandising campaign in film history at the time, and became one of the biggest box office hits of all time, grossing well over US$250 million in the U.S. alone and $400 million worldwide (numbers not adjusted for inflation) and earning critical acclaim for the performances of both Michael Keaton and Jack Nicholson, as well as the film's production aspects, which won the Academy Award for Best Art Direction. The success of the film helped establish Burton as a profitable director, and it also proved to be a huge influence on future superhero films, which eschewed the bright, all-American heroism of Richard Donner's Superman for a grimmer, more realistic look and characters with more psychological depth. It also became a major inspiration for the successful 1990s cartoon Batman: The Animated Series, in as much as the darkness of the picture and its sequel allowed for a darker Batman on television.

Burton claimed that The Killing Joke was a major influence on his film adaptation of Batman:

"I was never a giant comic book fan, but I've always loved the image of Batman and The Joker. The reason I've never been a comic book fan—and I think it started when I was a child—is because I could never tell which box I was supposed to read. I don't know if it was dyslexia or whatever, but that's why I loved The Killing Joke, because for the first time I could tell which one to read. It's my favorite. It's the first comic I've ever loved. And the success of those graphic novels made our ideas more acceptable. I write therefore I am"

Edward Scissorhands

In 1990, Burton co-wrote (with Caroline Thompson) and directed Edward Scissorhands, re-uniting with Winona Ryder from Beetlejuice. His friend Johnny Depp, a teen idol at the end of the 1980s due primarily to his work on the hit TV series 21 Jump Street, was cast in the title role of Edward, who was the creation of an eccentric and old-fashioned inventor (played by Vincent Price in one of his last screen appearances). Edward looked human, but was left with scissors in the place of hands due to the untimely death of his creator. Set in suburbia (the film was shot in Lutz, Florida), the film is largely seen as Burton's autobiography of his own childhood in the suburb of Burbank. Price at one point is said to have remarked, "Tim is Edward." Depp wrote a similar comment in the foreword to Mark Salisbury's book, Burton on Burton, regarding his first meeting with Burton over the casting of the film. Edward is considered Burton's best movie by many critics. Following this collaboration with Burton, Depp starred in Ed Wood, Sleepy Hollow, Charlie and the Chocolate Factory, Corpse Bride, Sweeney Todd: The Demon Barber of Fleet Street and Alice in Wonderland.

In 2004, Matthew Bourne came to Burton with the idea to turn the story of Edward into a ballet. In 2005, the ballet first aired. It has now toured the UK, the U.S., Canada, Australia and parts of Europe.

Batman Returns

The day Warner Brothers had declined to make the more personal Scissorhands even after the success of Batman, Burton finally agreed to direct the sequel for Warner Brothers on the condition that he would be granted total control. The result was Batman Returns which featured Michael Keaton returning as the Dark Knight, and a new triad of villains: Danny DeVito (as the Penguin), Michelle Pfeiffer (as Catwoman) and Christopher Walken as Max Shreck, an evil corporate tycoon and original character created for the film. Darker and considerably more personal than its predecessor, concerns were raised that the film was too scary for children. Audiences were even more uncomfortable at the film's overt sexuality, personified by the sleek, fetish-inspired styling of Catwoman's costume. One critic remarked, "too many villains spoiled the Batman", highlighting Burton's decision to focus the storyline more on the villains instead of Batman. The film also polarized the fanbase, with some loving the darkness and quirkiness, while others felt it was not true to the core aspects of the source material. Burton made many changes to the Penguin which would be applied to the Penguin in both comics and television. While in the comics, he was an ordinary man, Burton created a freak of nature resembling a penguin with webbed, flipper-like fingers, a hooked, beak-like nose, and a penguin-like body. Released in 1992, Batman Returns grossed $282.8 million worldwide, making it another financial success, though not to the extent of its predecessor. This would also be the last Batman film to feature Burton and Keaton as director and lead actor respectively.

The Nightmare Before Christmas

Next, Burton wrote and produced (but did not direct, due to schedule constraints on Batman Returns) The Nightmare Before Christmas (1993), originally meant to be a children's book in rhyme. The film was directed by Henry Selick and written by Michael McDowell and Caroline Thompson, based on Burton's original story, world and characters. The film received positive reviews for the film's stop motion animation, musical score and original storyline and was a box office success, grossing $50 million. Burton collaborated with Selick again for James and the Giant Peach (1996), which Burton co-produced. The movie helped to generate a renewed interest in stop-motion animation.

A deleted scene from The Nightmare Before Christmas features a group of vampires playing hockey on the frozen pond with the decapitated head of Burton. The head was replaced by a jack-o'-lantern in the final version.

Cabin Boy

In 1994, Burton and frequent co-producer Denise Di Novi produced the 1994 fantasy-comedy Cabin Boy, starring comedian Chris Elliott and directed/written by Adam Resnick. Burton was originally supposed to direct the film after seeing Elliott perform on Get a Life, but handed the directing responsibility to Resnick once he was offered Ed Wood. The film was almost entirely panned by critics, even earning Chris Elliott a 1995 Razzie Award for "Worst New Star".

Ed Wood

His next film, Ed Wood (1994), was of a much smaller scale, depicting the life of Ed Wood, a filmmaker sometimes called "the worst director of all time". Starring Johnny Depp in the title role, the film is an homage to the low-budget sci-fi and horror films of Burton's childhood, and handles its comical protagonist and his motley band of collaborators with surprising fondness and sensitivity. Owing to creative squabbles during the making of The Nightmare Before Christmas, Danny Elfman declined to score Ed Wood, and the assignment went to Howard Shore. While a commercial failure at the time of its release, Ed Wood was well received by critics. Martin Landau received an Academy Award in the Best Supporting Actor category for his portrayal of Béla Lugosi. Gene Siskel once said that two flims, Ed Wood and Citizen Kane, be mandatory films to see in film classes.

Batman Forever

Despite his intention to still lead the Batman franchise, Warner Bros. considered Batman Returns too dark and unsafe for children. To attract the young audience, it was decided that Joel Schumacher, who had directed films like The Client, lead the third film, while Burton would only produce it in conjunction with Peter McGregor-Scott. Following this change and the changes made by the new director, Michael Keaton resigned from the lead role and was succeeded by Val Kilmer. Filming began in late 1994 and recognized with new actors: Tommy Lee Jones, Nicole Kidman, Chris O'Donnell and Jim Carrey, the only two actors who continued were Pat Hingle and Michael Gough. The film, a mixture of darkness that characterized the saga with colors and neon signs proposed by Schumacher, was a huge box office success of $336 million, despite controversy produced by the characters and plot. Even as producer and taking a close friendship with the director, Burton differed with decisions made by Schumacher, especially in the filming of several scenes, which were removed from the final edition and later added as deleted scenes in its DVD release in 2005. Warner Bros demanded both delete those scenes and did not give the same tone as its predecessor Batman Returns. According to an interview with Janet Scott Batchler, Tim Burton's only involvement as producer with Batman Forever was approving Joel Schumacher as director and Lee and Janet Scott Batchler as the writers. Burton did not contribute story ideas and the Riddler was not considered for the villain until Schumacher and the Batchlers were at the development stage. Schumacher was rehired to lead another sequel, the infamous Batman & Robin, in which Burton for unknown reasons did not participate.

James and the Giant Peach

In 1996, Burton and Selick reunited for the musical fantasy James and the Giant Peach, based on the book by Roald Dahl. The film starred Richard Dreyfuss, Susan Sarandon, David Thewlis, Simon Callow and Jane Leeves among others, with Burton producing and Selick directing. The film was mostly praised by critics, and was nominated for the Academy Award Best Music, Best Original Musical or Comedy Score (by Randy Newman).

Mars Attacks!

Elfman and Burton reunited for Mars Attacks! (1996). Based on a popular science fiction trading card series, the film was a hybrid of 1950s science fiction and 1970s all-star disaster films. Coincidence made it an inadvertent spoof of the blockbuster, Independence Day, made around the same time and released five months earlier. 

Sleepy Hollow

Sleepy Hollow, released in late 1999, had a supernatural setting and another offbeat performance by Johnny Depp as Ichabod Crane, now a detective with an interest in forensic science rather than the schoolteacher of Washington Irving's original tale. With Hollow, Burton paid homage to the horror movies of the English company Hammer Films. Christopher Lee, one of Hammer's stars, was given a cameo role. A host of Burton regulars appeared in supporting roles (Michael Gough, Jeffrey Jones and Christopher Walken, among others) and Christina Ricci was cast as Katrina van Tassel. Mostly well-received by critics, and with a special mention to Elfman's Gothic score, the film won an Academy Award for Best Art Direction, as well as two BAFTAs for Best Costume Design and Best Production Design. A box office success, Sleepy Hollow was also a turning point for Burton. Along with change in his personal life (separation from actress Lisa Marie), Burton changed radically in style for his next project, leaving the haunted forests and colorful outcasts behind to go on to directing Planet of the Apes which, as Burton had repeatedly noted, was "not a remake" of the earlier film.

Planet of the Apes

Planet of the Apes was a commercial success, grossing $68 million in its opening weekend. The film has received mixed reviews and widely considered inferior to the first adaptation of the novel. One criticism was that the movie went for a more watered down "popcorn" feel than the dark, cerebral and nihilistic tone of the 1968 film. The film was a significant departure from Burton's usual style, and there was much subsequent debate about whether the film was really Burton's, or if he was just a "hired gun" who did what he was asked. Burton reportedly clashed with the studio during the whole making of the film, once going as far as abruptly leaving the set for the day. There were also many reports about last minute changes in the movie. The movie enjoyed commercial success and had an ending that clearly suggested the possibility of a sequel, but neither the studio nor Burton gave indications of making another Apes movie (which later became Rise of the Planet of the Apes). The ending was also closer to that of the novel.

Big Fish

In 2003, Burton directed Big Fish, based on the novel Big Fish: A Novel of Mythic Proportions by Daniel Wallace. The film is about a father telling the story of his life to his son using exaggeration and color. Starring Ewan McGregor as young Edward Bloom and Albert Finney as an older Edward Bloom, the film also stars Jessica Lange, Billy Crudup, Danny DeVito, Alison Lohman and Marion Cotillard. Big Fish received four Golden Globe nominations as well as an Academy Award nomination for the musical score by Danny Elfman. Big Fish was also the second collaboration with Burton and Helena Bonham Carter, who played the characters of Jenny and the Witch.

Charlie and the Chocolate Factory

Charlie and the Chocolate Factory (2005) is an adaptation of the book by Roald Dahl. Starring Johnny Depp as Willy Wonka, Freddie Highmore as Charlie Bucket and Helena Bonham Carter as Mrs. Bucket, the film generally took a more faithful approach to the source material than the 1971 adaptation, Willy Wonka & the Chocolate Factory, although some liberties were taken, such as adding Wonka's issue with his father (played by Christopher Lee). Charlie and the Chocolate Factory was later nominated for the Academy Award for Best Costume Design. The film made over $207 million domestically.

Corpse Bride

Corpse Bride (2005) was Burton's first full-length stop-motion film as a director, featuring the voices of Johnny Depp as Victor and Helena Bonham Carter (for whom the project was specifically created) as Emily in the lead roles. In this movie, Burton was able again to use his familiar styles and trademarks, such as the complex interaction between light and darkness, and of being caught between two irreconcilable worlds.

Sweeney Todd: The Demon Barber of Fleet Street

The DreamWorks/Warner Bros. production was released on December 21, 2007. Burton's work on Sweeney Todd won the National Board of Review Award for best director and received a Golden Globe nomination for Best Director and won an Academy Award for Best Achievement in Art Direction. Helena Bonham Carter won an Evening Standard British Film Award for her portrayal of Mrs. Lovett, as well as a Golden Globe nomination. The film is a devastating blend of explicit gore and Broadway tunes. Johnny Depp was nominated for the Best Actor Oscar for the role of Sweeney Todd. Depp won the Golden Globe for Best Actor in a Musical/Comedy, as well as the award for Best Villain as Todd in the 2008 MTV Awards.

9

In 2005, filmmaker Shane Acker released his short film 9, a story about a sentient rag doll living in a post-apocalyptic world who tries to stop machines from destroying the rest of his eight fellow rag dolls. The film won numerous awards and was nominated for an Academy Award for Best Animated Short Film. After seeing the short film, Burton and Timur Bekmambetov, director of Wanted, showed interest in producing a feature-length adaptation of the film. Also directed by Acker, the film was written by Acker (story) & Pamela Pettler (screenplay, co-writer of Corpse Bride) and starred Elijah Wood, John C. Reilly, Jennifer Connelly and Christopher Plummer, among others. This was Burton's first animated movie aside from his stop-motion films.

Alice in Wonderland

In Burton's version, the story is set 13 years after the original Lewis Carroll tales. Mia Wasikowska, the 19-year-old featured in the HBO series In Treatment and Defiance, was cast as Alice. The original start date was May 2008. Torpoint and Plymouth were the locations used for filming from September 1 – October 14, and the film remains set in the Victorian era. During this time, filming took place in Antony House in Torpoint. 250 local extras were chosen in early August.^[Other production work took place in London. The film was originally to be released in 2009, but was pushed to March 5, 2010. Johnny Depp plays the Mad Hatter, Matt Lucas, star of Little Britain, is both Tweedledee and Tweedledum, Helena Bonham Carter portrays Red Queen, Stephen Fry is the Cheshire Cat, Anne Hathaway as The White Queen, Alan Rickman as Absolem the Caterpillar, Michael Sheen as McTwisp the White Rabbit and Crispin Glover as the Knave of Hearts.

Tim Burton appeared at the 2009 Comic-Con in San Diego, California, to promote both 9 and Alice in Wonderland. When asked about the filmmaking process by an attendee, he mentioned his "imaginary friend" who helps him out, prompting Johnny Depp to walk on stage to the applause of the audience.

Animation

Animations are not a strictly-defined genre category, but rather a film technique, although they often contain genre-like elements. Animation, fairy tales, and stop-motion films often appeal to children, but it would marginalize animations to view them only as "children's entertainment." Animated films are often directed to, or appeal most to children, but easily can be enjoyed by all.
Early Animation:
The inventor of the viewing device called a praxinoscope (1877) , French scientist Charles-Emile Reynaud, also created a large-scale system called Theatre Optique (1888) which could take a strip of pictures or images and project them onto a screen. He demonstrated his system in 1892 for Paris' Musee Grevin - it was the first instance of projected animated cartoon films (the entire triple-bill showing was called Pantomimes Lumineuses), with three short films that he had produced: in order: "Pauvre Pierrot" (Poor Pete) - the only surviving example (500 frames), "Le Clown et Ses Chiens" (The Clown and His Dogs) (300 frames), and "Un Bon Bock" (A Good Beer) (700 frames). To create the animations, individually-created images were painted directly onto the frames of a flexible strip of transparent gelatine (with film perforations on the edges), and run through his projection system. The three animated films lasted about 12-15 minutes each. Depending upon one's definition of terms, some consider Pauvre Pierrot the oldest-surviving animated film ever made and publically broadcast.
The predecessor of early film animation was the newspaper comic strips of the 1890s. Historically and technically, the first animated film (in other words, the earliest animated film ever made on standard motion-picture film) was Humorous Phases of Funny Faces (1906) by newspaper cartoonist J. Stuart Blackton, one of the co-founders of the Vitagraph Company. It was the earliest surviving example of an animated film. It was the first cartoon to use the single frame method, and was projected at 20 frames per second. In the film, a cartoonist's line drawings of two faces were 'animated' (or came to life) on a blackboard. The two faces smiled and winked, and the cigar-smoking man blew smoke in the lady's face; also, a circus clown led a small dog to jump through a hoop.
This was soon followed by the first fully-animated film - Emile Cohl's Fantasmagorie (1908, Fr.), which consisted solely of simple line drawings (of a clown-like stick figure) that blended, transformed or fluidly morphed from one image into another.

Winsor McCay ("America's Greatest Cartoonist"):

New York Herald comic-strip animator and sketch artist Winsor McCay (1869-1934) produced a string of comic strips from 1904-1911, his three best being Dreams of the Rarebit Fiend, Little Sammy Sneeze, and Little Nemo in Slumberland (from October 15, 1905 to July 23, 1911). Although McCay wasn't the first to create a cartoon animation, he nonetheless helped to define the new industry. He was the first to establish the technical method of animating graphics. His first animation attempt used the popular characters from his comic strip (and became part of his own vaudeville act): Little Nemo in Slumberland (1911) (with 4,000 hand-drawn frames), followed by How a Mosquito Operates (1912) (with 6,000 frames).
His first prominent, successful and realistic cartoon character or star was a brontosaurus named Gertie in Gertie the Dinosaur (1914) (with 10,000 drawings, backgrounds included), again presented as part of his act. In fact, McCay created the "interactive" illusion of walking into the animation by first disappearing behind the screen, reappearing on-screen!, stepping on Gertie's mouth, and then climbing onto Gertie's back for a ride - an astonishing feat! It was the earliest example of combined 'live action' and animation, and the first "interactive" animated cartoon. Some consider it the first successful, fully animated cartoon - it premiered in February 1914 at the Palace Theatre in Chicago.
McCay's 12-minute propagandistic, documentary-style The Sinking of the Lusitania (1918), an animation landmark, was the first serious re-enactment of an historical event - the torpedoing of the RMS Lusitania by a German U-boat on May 7, 1915, resulting in the loss of almost 2,000 passengers. It was one of the earliest films to utilize cel animation.
Soviet animator (W)ladislaw Starewicz created the first 3-D, stop-motion narratives in two early films with animated insects: The Grasshopper and the Ant (1911) and The Cameraman's Revenge (1911). And John Randolph Bray's first animated film, The Artist's Dream(s) (1913) (aka The Dachshund and the Sausage), the first animated cartoon made in the U.S. by modern techniques was the first to use 'cels' - transparent drawings laid over a fixed background.

Felix the Cat: First Appearance in 1919

The first animated character that attained superstar status (and was anthropomorphic) during the silent era was the mischievous Felix the Cat, in Pat Sullivan Studios. He was inspired by Kipling's The Cat That Walked By Himself in the Just So Stories published in 1902.
Originated by young animator Otto Messmer, the (unnamed) cat's first two cartoons were the five-minute Feline Follies (1919) and Musical Mews (1919), when Felix was known only as "Master Tom." Feline Follies was a segment of the Paramount Magazine, a semi-weekly compilation of short film segments that included animated cartoons. By the third Felix cartoon, The Adventures of Felix (1919), Felix took his permanent name. For the first few years, the Felix cartoons were distributed by Paramount Pictures, and then by M.J. Winkler. Messmer directed and animated more than 175 Felix cartoons in the years 1919 through 1929. Felix was the first character to be widely merchandised. The last Felix the Cat cartoon, The Last Life (1928), was due to the advent of the talkies and the success of Walt Disney's Mickey Mouse. Messmer continued with his comic strip (begun in 1923) until 1966.

First Color Cartoon:
Producer John Randolph Bray's (and Bray Picture Corporation's) The Debut of Thomas Cat (1920) has often been credited as the first color cartoon, using the expensive Brewster Natural Color Process (a 2-emulsion color process), an unsuccessful precursor of Technicolor. This was the first animated short genuinely made in color using color film. Drawings were made on transparent celluloid and painted on the reverse, then photographed with a two-color camera. However, some sources have claimed that the Natural Colour Kinematograph Company's In Gollywog Land (1912, UK) was the earliest, using Kinemacolor.

First Animated Feature:
The little-known but pioneering, oldest-surviving feature-length animated film that can be verified (with silhouette animation techniques and color tinting) was released by German film-maker and avante-garde artist Lotte Reiniger, The Adventures of Prince Achmed (aka Die Abenteuer des Prinzen Achmed) (1926, Germ.), based on the stories from the Arabian Nights. Reiniger's achievement is often brushed aside, due to the fact that the animations were silhouetted, used paper cut-outs, and they were done in Germany. And the rarely-seen prints that exist have lost much of their original quality. However, the film was very innovative -- it used multi-plane camera techniques and experimented with wax and sand on the film stock.

Early Walt Disney:
A classic animator in the early days of cinema was Walt Disney, originally an advertising cartoonist at the Kansas City Film Ad Company, who initially experimented with combining animated and live-action films. The very first films he made himself at his own animation studio in Kansas City were short cartoons called Newman Laugh-O-Grams, such as Little Red Riding Hood (1922) - the first Walt Disney cartoon, and the Four Musicians of Bremen (1922).
His first successful silent cartoons (from 1923-1927), after relocating and setting up his own studio in Los Angeles (the Disney Brothers Studio) were a series of shorts (56 episodes) called Alice Comedies (or Alice in Cartoonland) that debuted in 1924 with Alice's Day at Sea (1924). Disney's Alice cartoons placed a live-action title character (Alice) into an animated Wonderland world. Soon after, Oswald the Lucky Rabbit became Disney's first successful animal star in a 26-cartoon series distributed by Universal beginning in 1927. Oswald was the first Disney character to be merchandized. Oswald appeared in a number of cartoon shorts, such as: Trolley Troubles (1927) and Poor Papa (1927). Disney produced about two dozen of the silent, black and white Oswald cartoons from 1927-1928 until forced to give up the character to Walter Lantz. He moved onto another memorable character - first named Mortimer Mouse - or Mickey Mouse (looking like Oswald with his ears cut off) in 1928.

The Debut of Mickey Mouse:
In 1928, Disney Studios' chief animator Ub Iwerks (1901-1971) developed a new character from a figure known as Mortimer Mouse, a crudely-drawn or sketched, rodent-like 'Mickey Mouse' - slightly similar to Felix the Cat. [Mickey Mouse was never a comic strip character before he became a cartoon star.] The first Mickey Mouse cartoon was released on May 15, 1928: Plane Crazy (1928) in which Mickey, while impressing Minnie, imitated aviator Charles Lindbergh. The second was Steamboat Willie (1928), first released (on a limited basis) on July 29, 1928, with Mickey as a roustabout on Pegleg Pete's river steamer, but without his trademark white gloves. The third was The Gallopin' Gaucho (1928) released on August 2, 1928. (These early films were soon re-worked and re-released with sound - with electrifying results.)
To help make Mickey stand out from other cartoon characters at the dawn of the talkies, the 7-minute Steamboat Willie (1928) was re-released on November 18, 1928 with sound and premiered at the 79th Street Colony Theatre in New York - it was the first cartoon with post-produced synchronized soundtrack (of music, dialogue, and sound effects) and is considered Mickey Mouse's screen debut performance and birthdate. Animated star Mickey (with Minnie) was redrawn with shoes and white, four-fingered gloves. It was a landmark film and a big hit - the first sound cartoon to be a major hit - leading to many more Mickey Mouse films during the late 1920s and 1930s. Strangely, Mickey's first sound cartoon didn't include Mickey's voice -- he didn't speak until his ninth short, The Karnival Kid (1929) when he said the words: "Hot dogs!" [Walt's voice was used for Mickey.] Walt Disney was fast becoming the most influential pioneer in the field of character-based cel animation, through his shrewd oversight of production.

The Fleischer Brothers: Inventors, Cartoon Makers
At the same time, serious rivals to Disney's animation production came from the Fleischers (Max, Dave, Joe, and Lou). They were already making technical innovations that would revolutionize the art of animation. In 1917, Max Fleischer invented the rotoscope to streamline the frame-by-frame copying process - it was a device used to overlay drawings on live-action film. The Fleischers were also pioneering the use of 3-D animation landscapes, and produced the hour-long Einstein's Theory of Relativity (1923), the first feature animation (a documentary).
The Fleischer Brothers also made the first animated films (cartoons) that featured a soundtrack, in a series of 36 films released in the mid-1920s called Ko-Ko Song Car-Tunes (1924-1927) - the precursors to karaoke. The first sound cartoon was one of the Song Car-Tunes -- Mother Pin a Rose on Me. They were also the first audience participation films, with sing-along lyrics and a 'bouncing-ball' helper. They included Has Anybody Here Seen Kelly? (1926), When The Midnight Choo-Choo Leaves For Alabam' (1926), Comin' Tho' The Rye (1926), Margie (1926), My Old Kentucky Home (1926), Tramp, Tramp, Tramp-The Boys Are Marching (1927), By The Light Of The Silvery Moon (1927). In My Old Kentucky Home, Bimbo said to the audience: “Follow the ball and join in everybody." Twelve of the 36 short films were released in both sound and silent versions.

[Little-known fact: Max Fleischer was the father of Richard Fleischer, the director of Disney's 20,000 Leagues Under the Sea (1954), Fantastic Voyage (1966), Doctor Dolittle (1967) and Soylent Green (1973).]

• Ko-Ko the ClownOne of the Fleischers' first successful ventures occurred in 1919 with the premiere of the part live-action/part animation Out of the Inkwell series of shorts, featuring the animated Ko-Ko the Clown character in a live-action world - one of the first animated characters. Ko-Ko climbed out of the inkwell and interacted with the human animator.
• BimboFrom 1929-1932, their Talkartoons for Paramount starred a mouse-like character named Bimbo - who was soon relegated to a minor companion co-star with the Fleischer's next racy cartoon star.
• Betty BoopMax Fleischer was responsible for the provocative, adult-oriented, cartoon Betty Boop vamp-character, who always wore a strapless, thigh-high gown (and visible garter) and was based on flapper icon Clara Bow's 'It' Girl and Mae West. A prototype of the squeaky- and baby-voiced cartoon queen (voiced for most of the 30s by Mae Questel) was introduced in a Bimbo Talkartoon entitled Dizzy Dishes (1930) - with her appearing as a long-eared puppy dog! In the early cartoon Betty Co-Ed (1931), she was called Betty, and in a pre-Code Bimbo cartoon entitled Silly Scandals (1931) (the title spoofed Disney's Silly Symphonies), she was named Betty Boop for the first time (she sings You're Driving Me Crazy while her dress top keeps falling down). However, in Stopping the Show (1932), she appeared under her own credits banner for the first time (she had previously appeared only in Talkartoons and Screen Songs).
  Betty Boop's voice was actually modeled on the voice of another actress, Helen Kane, who created a sensation on Broadway in 1928 with a "boop-oop-a-doop" rendition of the hit song I Wanna Be Loved by You. The cartoon character with a high baby voice and spit curls then appeared in a series of short cartoons and became the top Fleischer star, in Minnie the Moocher (1932), the risque Boop-Oop-A-Doop (1932), Betty Boop's Bamboo Isle (1932), the five-minute Snow White (1933) (with an appearance by Cab Calloway) - the first animated film based upon the Grimm Brothers' fairy tale, Betty Boop's Rise to Fame (1934), in her sole color cartoon Poor Cinderella (1934) - the Fleischer's first color cartoon with Betty sporting red hair, and Riding the Rails (1938). She displayed a bit of breast and performed a sexy hula in the pre-code Betty Boop's Rise To Fame (1934). Unfortunately, the cute, titillating 'boop-oop-a-doop' Betty was destined to be censored with the advent of the enforceable, conservative and puritanical Hays Production Code in 1934. Drastic changes to her character after 1934 led to her demise by 1939, with her last cartoon, Yip Yip Yippy (1939). [During the 30s, Mae Questel recorded On the Good Ship Lollipop -- in Betty Boop's voice-- which sold more than 2 million copies.]

• Popeye The Fleischers also obtained the rights to the tough, one-eyed, spinach-loving sailor Popeye with over-sized arms (who was introduced in January 1929 in creator Elzie C. Segar's "Thimble Theatre" newspaper comic strip published in the New York Journal for King Features Syndicate since 1919). Popeye became so popular in the comic strip that it was renamed "Thimble Theatre, Starring Popeye." Popeye first appeared on film alongside established cartoon-star Betty Boop in July, 1933 in Fleischers' Betty Boop cartoon titled Popeye the Sailor (1933), in which they dance the hula. Popeye's voice was provided by William Costello (better known as Red Pepper Sam) from 1933-35. [After Costello was dismissed, Jack Mercer, who began his career as an artist at the cartoon studio, provided Popeye's voice and ad-libbed mutterings for the Fleischers until 1957, and various voices for the two Fleischer feature-length animations - see below.] The same year in September, the first official Popeye cartoon, I Yam What I Yam was released - the first in a long series of animated shorts. Popeye's first Technicolor cartoon was the two-reel special release Popeye the Sailor Meets Sindbad the Sailor (1936), noted for its experimental multi-plane 3-D backgrounds, and for being the first Fleischer cartoon to be nominated for an Academy Award - Best Short Subject - Cartoon. The voices of Olive Oyl, Popeye's whiny girlfriend, and Sweet Pea were provided by Mae Questel. The character Wimpy provided the name for an unpopular type of British hamburger. By 1938, Popeye had replaced Mickey Mouse as the most popular cartoon character in America. Paramount's Famous Studios continued the series beginning in 1942, and Popeye's movie career lasted until 1957. Robert Altman directed the live-action film flop, Popeye (1980), starring Robin Williams as Popeye, Shelley Duvall as Olive Oyl, and Ray Walston as Pappy, Popeye's father.

• SupermanDave and Max Fleischer, in an agreement with Paramount and DC Comics, also produced a series of seventeen Superman cartoons in the early 1940s. The first Superman short, Superman (1941), premiered in 1941, introduced the terms "faster than a speeding bullet" and "Look, up in the sky!". The most famous of the series was the second entry, The Mechanical Monsters (1941) with the super-hero battling giant flying robots - and marking a redesigned Lois Lane and the first time Superman would change into his costume in a phonebooth. Also notable was The Bulleteers (1942).

The Fleischers were responsible for the first ten Superman cartoons (up through Japoteurs (1942)), with the remaining shorts produced by Paramount's Famous Studios during 1942-43. [The recognizable theme song for the series was incorporated into John Williams' score for Superman: The Movie (1978), and the cartoons were referenced in The Iron Giant (1999).]

Fleischer Studios' Two Feature Films:
Two feature-length animations with whimsical characters and advanced animation techniques by the Fleischers deserve mention, although the Fleischers are better-remembered for their shorts than for their only two features:

1. Gulliver's Travels (1939), an animated musical adaptation of Jonathan Swift's 1726 classic literary satire about war. The Fleischers, who were in direct competition with Disney, released this inferior attempt - it was the second American feature-length animated film ever, following (and patterned) after Disney's Snow White and the Seven Dwarfs (1937). The film was a two-time Academy Awards nominee: for Victor Young's Best Original Score, and for Best Song: Faithful Forever.
2.  The expensive, Technicolored Mr. Bug Goes to Town (1941), advertised as the screen's first full-length musical comedy cartoon. (It was originally named after Frank Capra's earlier feature Mr. Deeds Goes to Town (1936), and also given an alternate title: Hoppity Goes to Town.) Due to the film's financial failure, it was the last cartoon feature that Max and Dave released.

Stop Motion Animation

Stop-motion animation is used to describe animation created by physically manipulating real-world objects and photographing them one frame of film at a time to create the illusion of movement. There are many different types of stop-motion animation, usually named after the type of media used to create the animation. Computer software is widely available to create this type of animation.

• Puppet animation typically involves stop-motion puppet figures interacting with each other in a constructed environment, in contrast to the real-world interaction in model animation. The puppets generally have an armature inside of them to keep them still and steady as well as constraining them to move at particular joints. Examples include Tim Burton's The Nightmare Before Chritmas (US, 1993) and Corpse Bride (US, 2005)
• Clay animation, or Plasticine animation often abbreviated as claymation, uses figures made of clay or a similar malleable material to create stop-motion animation. The figures may have an armature or wire frame inside of them ,that can be manipulated in order to pose the figures. Alternatively, the figures may be made entirely of clay. Examples of clay-animated works include Morph (UK, 1977–2000), Wallace and Gromit (UK, as of 1989). Films include Wallace & Gromit: The Curse of the Were-Rabbit and Chicken Run.

• Cutout animation is a type of stop-motion animation produced by moving 2-dimensional pieces of material such as paper or cloth. An example is the TV series (and sometimes in episodes) of South Park (US, 1997).
• Silhouette animation is a variant of cutout animation in which the characters are backlit and only visible as silhouettes.
• Model animation refers to stop-motion animation created to interact with and exist as a part of a live-action world. Intercutting, matte effects, and split screens are often employed to blend stop-motion characters or objects with live actors and settings. Examples include the work of Ray Harryhausen, as seen in films such Jason and the Argonauts (1961), and the work of Willis O'Brien on films such as King Kong (1933 film).
• Go motion is a variant of model animation which uses various techniques to create motion blur between frames of film, which is not present in traditional stop-motion. The technique was invented by Industrial Light & Magic and Phil Tippett to create special effects scenes for the film The Empire Strikes Back (1980).
• Object animation refers to the use of regular inanimate objects in stop-motion animation, as opposed to specially created items.
• Graphic animation uses non-drawn flat visual graphic material (photographs, newspaper clippings, magazines, etc.) which are sometimes manipulated frame-by-frame to create movement. At other times, the graphics remain stationary, while the stop-motion camera is moved to create on-screen action.
• Pixilation involves the use of live humans as stop motion characters. This allows for a number of surreal effects, including disappearances and reappearances, allowing people to appear to slide across the ground, and other such effects.

Cell Animation

Traditional animation (also called cell animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, which are first drawn on paper. 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 cells, which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one onto motion picture film against a painted background by a rostrum camera.
The traditional cell 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. Various software programs are used to color the drawings and simulate camera movement and effects. The final animated piece is output to one of several delivery media, including traditional 35 mm film and newer media such as digital video. The "look" of traditional cell animation is still preserved, and the animator's work has remained essentially the same over the past 70 years. Some animation producers have used the term "tradigital" to describe cell animation which makes extensive use of computer technology.
Examples of traditionally animated feature films include Pinocchio (United States, 1940) and Animal Farm (United Kingdom, 1954). One of the traditional animated films which were produced with the aid of computer technology was The Lion King (US, 1994).