The surviving fragment of the silent cartoon "The Centaurs" shows it to be an unusual and detailed piece of animation by Winsor McCay. The creatures and the backgrounds are drawn with considerable care and interesting detail that would almost have made it worth looking at even if there weren't any action. The half-human, half-horse centaur is one of the most popular of the fantastic creatures from mythology, and McCay's depiction of them works almost as well as any computer- generated image could. The two parts of the creatures fit together well, with the human part giving them personality and the horse part giving them a stylish appearance. The woods, hills, and meadows are also drawn very nicely. What exists of the movie doesn't last very long, but it tells enough of a story to show what the whole might have been like and to make it worth seeing. 'The Centaurs' was a strange project for McCay to have undertaken and like some other McCay animations, 'The Centaurs' was a project that he never finished: the existing footage is almost certainly all that was ever completed. This is a very pretty cartoon to watch, as the centaurs move gracefully and are drawn in a sort of romanticized Art Nouveau-style Zenas Winsor McCay (c. 1867–71 or September 26, 1869 – July 26, 1934) was an American cartoonist and animator. He is best known for the comic strip Little Nemo (1905–14; 1924–26) and the animated film Gertie the Dinosaur (1914). For contractual reasons, he worked under the pen name Silas on the comic strip Dream of the Rarebit Fiend. From a young age, McCay was a quick, prolific, and technically dextrous artist. He started his professional career making posters and performing for dime museums, and began illustrating newspapers and magazines in 1898. He joined the New York Herald in 1903, where he created popular comic strips such as Little Sammy Sneeze and Dream of the Rarebit Fiend. In 1905, his signature strip Little Nemo in Slumberland debuted, a fantasy strip in an Art Nouveau style, about a young boy and his adventurous dreams. The strip demonstrated McCay's strong graphic sense and mastery of color and linear perspective. McCay experimented with the formal elements of the comic strip page, arranging and sizing panels to increase impact and enhance the narrative. McCay also produced numerous detailed editorial cartoons and was a popular performer of chalk talks on the vaudeville circuit. McCay was an early animation pioneer; between 1911 and 1921 he self-financed and animated ten films, some of which survive only as fragments. The first three served in his vaudeville act; Gertie the Dinosaur was an interactive routine in which McCay appeared to give orders to a trained dinosaur. McCay and his assistants worked for twenty-two months on his most ambitious film, The Sinking of the Lusitania (1918), a patriotic recreation of the German torpedoing in 1915 of the RMS Lusitania. Lusitania did not enjoy as much commercial success as the earlier films, and McCay's later movies attracted little attention. His animation, vaudeville, and comic strip work was gradually curtailed as newspaper magnate William Randolph Hearst, his employer since 1911, expected McCay to devote his energies to editorial illustrations. In his drawing, McCay made bold, prodigious use of linear perspective, particularly in detailed architecture and cityscapes. He textured his editorial cartoons with copious fine hatching, and made color a central element in Little Nemo. His comic strip work has influenced generations of cartoonists and illustrators. The technical level of McCay's animation—its naturalism, smoothness, and scale—was unmatched until Walt Disney's feature films arrived in the 1930s. He pioneered inbetweening, the use of registration marks, cycling, and other animation techniques that were to become standard. Ressources: Wikipedia.org, imdb.com Soundtrack and dubbing: Cinema History Channel The soundtrack is a derivative work of Kevin MacLeod songs : Arcadia, Frost Waltz (http://www.incompetech.com/music/royalty-free/ ), licensed under CC BY 3.0 licence, http://creativecommons.org/licenses/by/3.0/. No changes were made to the original music.
Visibility: 2702
Duration: 2m 32s
Rating: 50