“When Eadweard Muybridge began his series of proto-cinematic studies of movement in the late 1870s, he was already drawing upon science of human perception that had been around for at least forty years—albeit in reverse. Muybridge’s work was based on the notion that the movement of objects in space could be broken down into individual photographic frames, but already by the 1830s the zoetrope and phenakistoscope (whose name means “to deceive the viewer”) proved that flat images assembled linearly viewed rapidly in succession could create the illusion of moving objects.”

Leo Goldsmith Notcoming.com 2007

By taking a cross section view of myriad animated films throughout history and commissioning various writers to comment, this review of the art of animation in film suggests a rich and persistently shifting art form that offers a multitude of narrative as aesthetic possibilities.

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