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Foreword
The fascination of making a static picture move is as deeply rooted in human nature as is the artistic instinct itself
From as early as the fourteenth century, well before the discovery of films, many scientists and artists were intrigued by the problem of motion.
Before the live action film turned towards realism, both cartoon and live action had the same "magic'" effect on the audience. Directors regarded them as means to reach into the supernatural.
The cartoon film is a true disciple of that very early film.
Its technique goes back to the Victorian "Wheel of Life". This gadget consisted of a small wheel inside a large one. Drawings of a galloping horseman in a number of positions were fixed on to the smaller inner wheel, and a hole cut in the larger outer one. By turning a handle attached to the smaller wheel and looking through the hole, the onlooker could watch what appeared to be a horse galloping along. An illusion of movement was created as the eye had no time to distinguish individual drawings, but could only see all of them as one producing a continuous flow of movement.
The basic principle of cartoon animation is still the same. The method of production has of course gone ahead, but the conception of creating an illusion of continuous motion by means of individual pictures remains unchanged.
The realisation of this basic concept is the essential task of the film cartoonist. He is obliged to build up his world on a piece of paper in front of him. Whatever results the screen will show, the finished cartoon will be his own creation from beginning to end.
Even after some fifty years of film cartooning, the same