|Abstract:||In the first part of the diploma thesis, the definition of the term animated film and a brief description of how the animated films are made are given. Basic standards of animation are listed as well.
The second part of the thesis is divided and described according to five periods of the history of 2D animated films. First, the operation and creation of devices that work on the principle of persistence of vision, which are generally referred to as optical toys, are described. Furthermore, magic lantern, thaumatrope, phenakistoscope, zoetrope, flip-book, praxinoscope and optical theatre are described in detail. Facts about their inventors, the year of inventing and their functions are listed. Regarding the second period, the thesis is focused on pioneers of animated film. Only certain authors, such as Emile Cohl, Winsor McCay, Pat Sulivan and Otto Messmer and the Fleischer's brothers, are particularly dealt with. Their most recognizable works, which represent a significant progress in the field of animated film, are discussed. To present the third period, major development of animated films is shown through work of three important artists: Walt Disney, Tex Avery, and Osamu Tezuka. In the fourth period, the animation styles of companies UPA, Warner Bros and Hanna and Barbera are described through their characters. In addition, two independent experimental animation artists Norman McLaren and John Whitney are mentioned. In the fifth period, technique of 2D digital animation, the first two digital animated series, The Simpsons and South Park, and the first digital animated films, The Rescuers Down Under and The Iron Giant, are discussed.
The third part of the thesis is entirely focused on the creation of a short digital 2D animated film Bubbles. Examples of work in the programs TVPaint and Adobe After Effects are added as well.
The thesis is born as a study text open to all those who are passionate about animated films and want to have some basis for spreading their knowledge.
Like all contemporary cultural forms, animation cinema remains divided between art and industry, between the artistic element and the economic aspect of commercial exploitation. Neither of these two aspects can be neglected because they both contribute to the definition, dissemination and acceptance of a work of art. In this sense, the purpose of the diploma thesis
D’Amico, Antonella: 2D animirani film skozi čas. Dip.nal. Nova Gorica, AU/UNG, 2019
is not a simple list of names and titles, dictated only by a chronological timeline, but a text that weaves a network of relationships between individual personalities, films and historical-cultural context.|