Theory of the film : (character and growth of a new art) (1952)

Record Details:

Title:
Theory of the film : (character and growth of a new art)
Date:
1952
Publisher:
London : Dennis Dobson Ltd.
Volume:
Theory of the film : (character and growth of a new art)
Leaf #:
000213
Language:
English
Collection:
Books
Format:
Books
Contributor:
Niles Essanay Silent Film Museum
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
March 28, 2024
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CARTOONS 193 nificently horrible and nauseating. But if he had to put a proletarian into one of his drawings, he did not know what to do. He did not want to draw a satirical caricature of him, for that was not how he saw and wanted to show the working man. On the other hand could he mix his witheringly sarcastic monstrosities with figures drawn with a gentle, affectionate touch? Only one solution seems possible here : to use the style of children's drawings, a device often adopted by many a mature master. In such drawings the distortion is motivated by the child's lack of skill and this serves as an excuse for making the figures which are intended to arouse sympathy just as funny as the others. With the coming of sound, possibilities of a new acoustic humour and of a new extraordinary musical artistry opened up before the cartoon film. This new form of art, of which Walt Disney is the undisputed king, will be discussed later in connection with the specific problems of the sound film. 13