Famous Cartoon Dogs

The American love of dogs is expressed nowhere better than in the cartoons. Since cartoons were first drawn dogs have featured in them. Dogs in the cartoons express something very fundamental about the popular American psyche.

Love, loyalty and laughter – the world according to cartoon dogs and the cartoonists that created them.

Long before films made cartoons universal, dogs appeared in the cartoon strips that newspapers ran. That is where the cartoon dog first began to develop its characteristic traits and become an iconic figure.

Little Orphan Annie had her faithful dog Sandy. The cartoonist Harold Gray used Sandy as a side kick for his feisty female lead character. Whether she was fighting Nazis or investigating haunted houses Sandy was never far away. Every strip ended with Sandy’s trade mark “Arf!”

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Sandy never had much to say. He could not be said to have been a fully delineated character. That was never the case with the Snoopy. Snoopy is a more recent addition to the cartoon strip hall of fame. He is Charlie Brown’s dog in Schulz’s “Peanuts” cartoon strip. He first appeared in the syndicated strip in 1950. He has since made the transition to television and big screen.

Snoopy always dominated the “Peanuts” cartoons and seemed to lead a much richer imaginative life than the children who were supposed to be the main characters of the cartoon. The little beagle could invariably be found on top of his kennel writing his novel. When not doing that he was dressed as a World War I fighter ace fighting the Red Baron. Unusually for a dog, even in the cartoons, he owned an original Van Gogh and a Van Wyeth. The Van Gogh was sadly destroyed by fire in one episode.

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A completely different take on the dog character in cartoons is Odie in the Garfield comics. Odie never had anything to say. All he did was to slobber. The intellectual part of the partnership was Garfield the cat. Even that sometimes abusive relationship between the cartoon cat and dog reflects something of the conflicted relationship that is often seen between family pets. At a deeper level perhaps the cartoon also has something to say about sibling rivalry.

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Today’s leading cartoon dog has to be Santa’s Little Helper who appears in the Simpsons. He is principally Bart’s dog and their relationship encapsulates the special place that is accorded to the child/dog pairing in American popular culture. There is an innocence of sentiment in the bond between the boy and the dog that captures the way in which childhood is envisaged in the USA. For the city kid of the late 20th and early 21st century that is a condition that is all too often unattainable but the cartoon image of the dog maintains the myth.

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About the Author:  Abhishek is an avid dog lover and he has got some great Dog Health Secrets up his sleeves! Download his FREE 80 Pages Ebook, “How To Take Care Of Your Dog’s Health” from his website http://www.Dog-Tale.com/192/index.htm

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A Short History Of Animation Films

To animate is to infuse life into something that is inanimate or without life. An animation film breathes life into painted or sketched characters. The hero and heroines are not real life movie stars or animals and birds.

Animation films involve the quick display of a series of images to give the illusion of movement. It is a kind of optical illusion of movement. The phenomenon is known as vision persistence.

Animation effects began long time ago and not some new invention of the movie world. In the cave paintings of the Old Stone Age the animals were having many legs on superimposed positions in an attempt to capture movement. In the 1800 flip books became popular when by rapidly thumbing through these special books the viewer got the impression of movement. However it was not until the debut of motion picture films that animation films really took off. No one person can be credited to be the creator of animation films. It involved several people in several projects.

Georges Melies was the first one to dabble with special effects in movies by using animation techniques. Accidentally he discovered it – the stop-motion animation, when his camera happened to break down. He was shooting a bus. But when he fixed the camera a horse came in the view and the net result was that the bus changed into a horse! J. Stuart Blackton came to combine the techniques of hand-drawn animation and stop-motion for the first time at the turn of the 20th century. Blackton is often referred to as the first successful animator.

French artist Emile Cohl made a film from hand painted cartoon strips name Fantasmagorie in 1908. The film depicted a stick moving and meeting other objects like a wine bottle that becomes changed into a flower. Sometimes the hands of the animator entered the scene. Each frame was drawn on paper and then each was shot on to a negative film that gave a blackboard effect. Thus it can be said that Fantasmagorie was the first animated film to make its debut.

Soon many other artists began to experiment. One was newspaper cartoonist Winsor McCay who began to work with a team. He came to produce some noted films like Little Nemo and Gertie the Dinosaur. In the 1910`s cartoon animated films began to rule the scene. The technique came to known as cel-animation.

Warner Bros and Walt Disney studio came to be legendary names associated with full animation industry in the film world. Limited animation uses less detail. Japan and United Productions of America produced animated films using this method. Another popular technique is rotoscoping. In 1917 Max Fleischer patented it. Here the animators copy frame-by-frame live actions.

The other methods are stop-motion-animation, clay-animation (using clay figures), cutout-animation (using paper and cloth), silhouette-animation, graphic-animation, model-animation, object-animation and puppet animation. In pixilation human beings are used in stop motion roles. This allows for surreal effects like disappearances and appearance. The latest technique of computer animation includes many kinds of techniques. These are made digitally on a computer machine.

Thus we find that in animated films drawings and or paintings are photographed individually by stop-frame cinematography. One frame is slightly different from the other thus giving the illusion of movement. These are moved in rapid succession – about 24 frames in each second. Animation can be regarded as a film technique and not a distinct category of film. These films were ideal for depicting fairy tales and captured the hearts of children for all times to come. It is difficult to find an adult who will not admit enjoying animation films.

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