2D Animated Movie through time

V prvem delu diplomske naloge podamo definicijo animiranega filma in na kratko opišemo, kako nastane animirani film. Omenimo tudi osnovne standarde animacije. Drugi del diplomske naloge je razdeljen na pet obdobij razvoja, na podlagi katerih opišemo zgodovino 2D animiranih filmov. V prvem obdobju predstavimo delovanje in nastanek naprav, ki jih na splošno imenujemo »optične igrače« in delujejo po principu persistence vida. Podrobneje opišemo »laterno magico«, »tavmatrop«, »fenakitoskop«, »zoetrop«, »slikofrc«, »praksinoskop« in »optično gledališče«. Pri vseh navedemo, kdo in kdaj jih je izumil ter opišemo njihovo delovanje. Drugo obdobje razvoja temelji na pionirjih animiranega filma. Podrobneje navedemo avtorje, kot so Emile Cohl, Winsor McCay, Pat Sulivan in Otto Messmer ter brata Fleischer. Obrazložimo njihova najbolj prepoznavna dela, ki so prispevala k napredku animiranega filma. V tretjem obdobju razvoja prikažemo razcvet animiranih filmov s pomočjo analize del treh pomembnejših ustvarjalcev, in sicer Walta Disneya, Texa Averyja in Osamuja Tezuke. V četrtem obdobju razvoja opišemo slog animacije pri animacijskih hišah UPA, Warner Bros ter Hana in Barbera na podlagi njihovih likov. Omenimo tudi dva samostojna umetnika eksperimentalne animacije Normana McLarena in Johna Whitneyja. V petem obdobju prikažemo tehniko 2D digitalne animacije ter prvi digitalni animirani seriji (The Simpsons in South Park) in prva digitalna animirana filma (The Rescuers Down Under in The Iron Giant). Tretji del diplomske naloge je v celoti namenjen analizi avtoričinega kratkega digitalnega 2D animiranega filma Bubbles s primeri dela v programih TVPaint in Adobe After Effects. Diplomska naloga je zastavljena kot študijsko besedilo za vse, ki jih zanima animirani film in želijo pridobiti podlago za širjenje svojega znanja na tem področju. Tako kot vse izrazne oblike sodobne kulture tudi animacijska kinematografija ostaja razdvojena med umetnostjo in industrijo, med umetniškim elementom ter ekonomskim vidikom komercialnega izkoriščevanja. Nobenega od teh dveh vidikov ni mogoče zanemariti, ker oba prispevata k opredelitvi, razširjanju in sprejemu umetniškega dela. Zaradi tega tudi namen diplomske naloge ni zgolj navajanja seznama imen in naslovov, ki ga narekuje le kronološka D’Amico, Antonella: 2D animirani film skozi čas. Dip.nal. Nova Gorica, AU/UNG, 2019 časovnica, temveč gre za besedilo, ki poskuša prikazati mrežo odnosov med posameznimi osebnostmi, filmi in zgodovinsko-kulturnim kontekstom. 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.