The “World of Tomorrow” is Here!
Skwigly
Original article By J. S. Kaminishi
I apologize for the shameless use of movie titles to tout this article, but I think you’ll agree that there are no better phrases to encapsulate my concepts.
Most animation aficionados have been aware of an audible low grumbling accompanying a slow ground swell of activity in the world of animation, for the past five years or so; but this year, 2004 will go down in animation history as the year when all the seismic activity has finally caused some major foundation shifts. Unlike any other time in history, the animation industry has been making headline news consistently, throughout the year.
On the business front, it began with Comcast, (a colossal cable company), Corporation’s takeover threat of Walt Disney Co., the megalopolis giant of the animation industry from day one. This upper-cut to Michael Eisner’s chin was followed with two stomach punches by Pixar Animation Studios and Miramax both no longer wanting to cohabitate under the same roof. Next came the news about DreamWorks Animation, SKG Inc. stepping out from under DreamWorks SKG Inc. and going public on the New York Stock Exchange raising an unexpected $812 million.
Proving why animation is considered big business are the box office record smashing receipts by Shrek 2, The Incredibles, and the release of numerous feature length animation films, including Shark Tale, The SpongeBob SquarePants Movie, Polar Express, ground breaking animation techniques with Sky Captain and the World of Tomorrow, plus an animated series, Father of the Pride airing on prime time television. Animation is not only alive and kicking, it’s actually thriving and growing day by day, though the paradox of unemployment in the animation industry belies the output. What does it all mean?
Simply put, history is being repeated and a new generation is taking over, both from the audience and the animator points of view. If one travels back to 1811-1816, (notice the five year period), there was a rebellion of English textile laborers, who opposed technological change because of diminished employment. They were called “Luddites,” after Ned Ludd, first to destroy the new weaving machine. New generations of resigned Luddites still exist among us, perhaps not as vociferous or destructive, though the staunchest will have to agree that there is no stopping technology.
Computer technology is the single main factor that has revolutionized animation, no more painstakingly drawn-by-hand twenty-four frames to get one second of fluid movement. We won’t discuss the impact of out-sourcing work to off shore locations, which in itself is another paradox, as foreign countries also contribute greatly to the world of animation, not only in box office receipts, but in creativity as well. The genre of Japanese Anime deserves a feature article by itself.
In regard to the current generation of animators, combine video game technology with the World Wide Web and you have a new breeding ground, which has spawned the “techno-animator,” who works independently and individually just for fun, resulting in a steady increase of new animation focused Internet businesses. These Internet businesses, such as Skwigly Animation Magazine, CartoonMogul.com, or Animation World Network, encourage international participation and provide increased development of public exhibition forums, which recognize new animation genres such as flash video. Round all of this technological proliferation off, with animation art now considered a legitimate art form able to hold its own, in art gallery showings, and it is safe to say that animation not only helps to define pop culture, it has finally come of age, appealing to young and old alike.
But forget all of this techno-babble, after all, except for television, there had been a very long dry spell for animation in general, from the 60s through the 80s. Were we really content only with the cyclical releases of Walt Disney classics and periodic new feature length animated films? Is technology really responsible for a resurgence of animation popularity? Of course not!
I propose another theory, to explain why animation has become the new “soup du jour.” As any form of art has always been man’s social commentary about life, in all of its chaos or uncertainty, there is always a compelling need to seek purpose, meaning or understanding. The art form of animation allows a limitless imagination to create visual explorations without boundaries. It is Albert Einstein who said that, “Knowledge is limited. Imagination encircles the world.” I venture further by stating that “the world” is inclusive of man’s mental, physical, emotional, and spiritual bodies.
As artists are products of their time, it then follows that in our technologically dependent society, animation art is reflected by the interaction of man with technology, i.e. digitally produced visuals. One person with one computer software program is able to produce a masterpiece of animation, without budgetary constraints or assistance from others. One vision with total control and total freedom of expression, in one’s free time, without leaving his chair, can produce a six-minute short, which can push animation beyond its traditional definitions. I refer specifically to Kerry Conran’s feature length film, Sky Captain and The World of Tomorrow, as a perfect example of manifested possibilities. (A side note, Sky Captain opened in mid September 2004 and is still being widely screened nearly two months later.)
Is it a coincidence that Mr. Conran’s film revisits the 1939 World’s Fair, whose motto was “The World of Tomorrow,” by personifying science fiction pulp heroes like Buck Rogers and Flash Gordon, in the guise of Sky Captain or that robots threaten his world? Surely one can see another interesting metaphorical paradox.
Without wishing to detract anything from Mr. Conran’s artistry or newly bestowed visionary status, I feel it is only fair to credit the first visionary, Walt Disney. It was Walt Disney, who first sold the concept of using live action within a cartoon, with the first of his Alice In Wonderland series, 1923. Unfortunately, Mr. Disney’s project caused him to go into bankruptcy, but the rest is history. Also, let’s not forget the ground breaking artistry of combining animation and live action, by George Lucas’ in his 1977 Star Wars, or with Who Framed Roger Rabbit, 1988, and the technologically advanced animation effects produced in Peter Jackson’s Lord of The Rings trilogy, which brings up a small concern. It’s gotten to the point where I can no longer distinguish what is cinematically real and what is an animated special effect anymore, an interesting conundrum, one which I won’t lose any sleep over, but I’m sure I’m not alone. The point is that pure entertainment never loses its value or audience appeal.
Another pivotal event in the history of animation technology is 1986, when Steven Jobs bought Pixar from George Lucas, who created Pixar, in order to develop special effects for Star Wars. Mr. Jobs expanded Pixar’s capability by incorporating his visionary dream, to develop the first fully computer animated 3-D feature film, which was realized with Toy Story, 1995, the same year that Pixar went public on the New York Stock Exchange.
Who can forget the delightfully entertaining genius behind Pixar’s 3:30 minute short, For The Birds, 2000, which I rank next to Nick Park’s 5 minute short, Creature Comforts, 1989, both Oscar winners. Why didn’t we get the Creature Comforts 2003 television series aired in the U.S? I wonder. But I digress.
More than one college professor has stated that there is “nothing new under the sun,” but the world of animation has certainly proven that new and better mouse traps are certainly being reinvented all the time.
Now that Michael Eisner is resigning as CEO, and Walt Disney Co., has agreed to join forces with Comcast Corp., in order to capitalize on developing the broadband and high-speed internet access for entertainment purposes, it is evident that animation is in an explosive stage of further development. As independent animators join forces to enter the internet marketplace, they not only help provide creative competition, they also benefit greatly with whatever changes and strides the big companies make, as opposed to what they dictate. Luddites, you do have a choice, dust off your visionary dreams or keep sulking.
I agree 100%, with Wade Konowalchuk’s November 1, 2004 editorial, “Animation and the Future,” as my article is an incidental, if not direct response to it, but I propose a rosier outlook.
To help encourage a more positive attitude, I have a special gift planned for December 2004. An interview with Kerry Conran, the writer/director of Sky Captain and The World of Tomorrow, has been arranged. Please forward any questions you would like discussed to editor@skwigly.co.uk (subject Sky Captain), received no later than November 26, 2004.
The word “renaissance” means a rebirth or great resurgence of art and learning, which certainly is applicable to the World of Animation, a world that can be argued as the one truly pure art form, when it comes to moving pictures. Think about it!